Years ago it was an annual
tradition for a sizeable cluster
of 2XX Community Radio
volunteers to huddle around
a table covered in telephones
and, over 48 hours or more,
call as many people as they
could to solicit donations to the
station. It was an exhaustive,
shameless cash grab – and
it’s back! But the times have
changed, no one calls anyone
anymore, and there’s money
to be raised. What to do? Take
to Pozible, of course, and
offer a sinking boatload of
incentives. From Monday May
27 to Sunday June 2, the station
will go into overdrive, with the
stated aim this year being to
revitalise the station, breathe
new life into it. As people who
bypass triple j, disdain FM
104.7, rationalise FM 106.3 and
are drawn inexorably to ABC
Classic FM by cold, calculated
default, BMA Magazine can
find no better rationale. 2XX
prides itself on being the voice
of our community. It has shows
from every cultural and musical
minority you can think of – and
now it also has LocalnLive, a
daily two-hour show staffed by
and dedicated to the best local
musicians. While you’re trying to
think of a reason why this isn’t
brilliant, head to 2xxfm.org.
au/content/2xx-fm-radiothon
to find out what you can do to
foster great radio in the ACT
when the ‘thon kicks off.

New ‘Vagabond’
Music Festival in
Kangaroo Valley

Canberra Filmmakers
to Appear at Cannes
Film Festival
ScreenACT and Trade Connect
are taking nine Canberran
filmmakers to the Marche du
Cannes (the film market at
Cannes Film Festival) to sell
local feature films and create
relationships to bring feature
productions to the territory.
The market goes for ten days,
Wed-Fri May 15-24, putting the
producers to the test by having
hundreds of meetings in that
time. Producer Christian Doran
is ready: ‘The idea is to believe
in your story and tell as many
people as you can. Someone
will see your passion and want
to work with you to get it made,
and we’ll make it right here in
Canberra.’ The move defies the
notion of ‘homegrown’ (in much
the same way that NewActon
and Kingston Foreshore are
pushing creativity rather than
nurturing it) but it can do no
harm. Bonne chance, innit.

Splendour In The Grass
Sells Out in Record Time
Another year, another festival,
another price hike. So you be
the judge – have Splendour
tipped the balance in their
favour enough that it’s worth
the cost? Frank Ocean, The
National, TV On The Radio,
Flume, Babyshambles, James
Blake, Of Monsters & Men,
Empire of the Sun, Klaxons,
Passion Pit and many more are
gracing the stages in the last
weekend of July. It’s no small
round-up, but at more than $110
a day, not including camping. For
a three-day pass with camping,
you’re looking at $450+. Almost
half a grand. With Groovin’
the Moo just gone ($99.90 for
the day, not including booking
fee) one has to wonder what
the future of the behemoth
Splendour music festival will be.
According to the record time in
which it sold out (40 minutes),
Splendour’s future is bright. And
they know it. Having invented
a $699 ticket, Splendour then
reduced the allocation of threeday passes to boost the number
of folks who’ll have to shell out
$699 to be there. After all, the
key selling point of any festival
– beyond ‘the experience’ –
is financial: more acts in a
given space of time than you
could possibly afford to see
individually. Festivals do all the
organising for you and price
accordingly. And with every
year that passes, ‘accordingly’
creeps a little higher. If you’d
like to hiss air through your
teeth and contemplate your
bank balance before coming to
your own conclusion, head to
splendourinthegrass.com (or
failing that, ebay.com.au).

Anyone who’s visited Kangaroo
Valley will tell you how beautiful
it is. Sheer, pristine hills
covered with lush gum forests,
sandstone escarpments
dropping out of nowhere,
pooling lakes of fog awash with
warm sun. And someone has
convinced an 83-year-old farm
owner to open the gates of his
old fruit orchard this June for
the inaugural Vagabond Music
Festival. The festival is the
fulfilment of 30-year-old Adam
Taylor’s dream. ‘Four years
ago I stood on my granddad’s

Rob Schneider is...

BMA Magazine would
like to announce its
support for incoming
‘right to die’ legislation
in NSW, because
we, like rappers,
are predestined
community leaders.

rundown old farm and thought
what a great spot this would
make for a music festival. After
more work than I could have
ever imagined, I’m ecstatic to
finally launch the inaugural
Vagabond Music Festival with
a line-up that I can’t wait to
see,’ said Adam. Taking place
on the Queen’s Birthday Long
Weekend, Sat-Mon June 8-10,
the first ever Vagabond Music
Festival sports Chilean DJ
Sien, Guineafowl, The Bedroom
Philosopher and heaps more.
You can find out more and
purchase very modestly
priced tickets (on special for
$50 until Friday May 10) at
vagabondfestival.com.

@bmamag

FROM THE
BOSSMAN
Ahhhh Mother’s Day. The great economy stimulator where love
for our cherished mothers is ransomed by Society’s Judgement
in exchange for expensive gifts that will see their way onto a
forgotten shelf in a cupboard before the week is out.
Next to Third Cousins Day (which conveniently falls on
Christmas so no-one ever remembers it) or Deceased Family
Pet Day it’s definitely at least my third favourite manufactured
event, if for no other reason than it gives us publications an
excellent opportunity to run vacuous pieces of advertorial
parading as ‘gift ideas’ and thus line our pockets with the fruits
of other vendors’ wares.
Mother’s Day is matched by something as old as the day
itself... Mother’s Day Cynicism. It provides an occasion for
bitter persons to mount their tiny soapboxes and spout hatred
against a perceived commercial enterprise masquerading as a
form of Love Day. Little do they realise most good people ignore
the commercial aspect and simply use it as an excuse to spend
time with their dear old Ma, thus making the cynic look like a
dried up hate-filled douche-turd in the process.
‘Whatever next!?’ they spout in a snooty accent akin to Lord
Ottombottom. ‘Chicken Day where we celebrate the plight of
our guinea-fowled friends? Mmmph, I say! Mmmph!’
Mums on the whole are awesome and should be cherished and
celebrated every day of the year let alone one, but people can
be forgiven for executing an eyeroll upon hearing Mother’s Day
has cropped again like a rash on the calendar. We’re hemmed
in with so many gift-giving occasions - Christmas, Easter,
weddings, birthdays, Step Grandmother’s Goldfish’s Day - not
to mention the ever-present landlord/bank forever demanding
their weighty share of your hard-earned that it’s amazing we
have any shrapnel left for the motel room’s vibrating bed.

YOU
PISSED
ME OFF!
Care to immortalise your hatred in print? Send an email
to editorial@bmamag.com and see your malicious bile
circulated to thousands. [All entries contain original spellings.]
To the witch instructor that tortured me and my friends
at Bikram Yoga, you pissed us off! Following this hideous
experience I was made well aware of the shocking principles this
straight-up form of masochism comes with and others should be
discouraged to try it. If we’re about to embark on 90 minutes in a
36 degree room, your first words shouldn’t be, “you MUST stay in
the room for the full class,” making beginners fear embarrassed
should we contemplate ending our suffering. Secondly, if
my friend goes pale and I need to tell her to ‘sit down’, I don’t
appreciate being made an example of so you can tell the class it’s
rude to talk. Speaking of rude, if light-headedness has forced a
first-time Bikram sufferer to sit, telling them they’re absolutely
not allowed to drink water is dangerous and you should feel
ashamed for removing the free will of someone trying to have
a go at something new. No, it’s not our “minds telling us to stop”,
it’s definitely “our bodies”, elbows, knees and spines are certainly
NOT “supposed to hurt” and, as a side note, your images of Mr.
Bikram (who’s currently caught up in a sex scandal) surrounding
the room are super creepy. Not only did you put us off ever
coming back to your heated chamber of death, you have
inspired me to encourage others to never, ever even give it a
go. Stay away.

So whether you simply use Mother’s Day as a reason to spend
more time with your dear Ma, push the boat out and express
your love through a series of lavish gifts or give your mother’s
skeleton a jolly good dusting before sticking a party hat on
their head, enjoying a lovely cup of tea together whilst rocking
back forth mumbling incoherently about showers ponder this...
There are many who will be without mothers this Mother’s Day
whether be it due to absence from birth or a recent death, and
many of these folk would give their vented spleen for a chance
to whinge about having to find a gift.
So my advice to people who love to indulge in the admittedly
enjoyable sport of complaining about Mother’s Day would be
this - If you’re lucky enough to have your Ma around and you’re
at least on speaking terms use the day as an excuse to spend
some more time with each other.
There’s nothing really wrong with a day, manufactured or no,
that pays homage to the people that brought us into this world.
They may not be with us any more, or you may never have been
on good terms with them... But you’re here as a result. And that
makes such a day resonate, regardless of money spent.
And now I would like to counter that greeting cardsy ending by
blowing a fat raspberry, dedicated of course to my dear Mum:
<pffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffffff!>
ALLAN SKO - allan@bmamag.com

Melbourne twin sisters Alanna & Alicia Egan have just released
Twinlines, their third album of original folk, jazz and roots infused
songs. Known for sweet harmonies and onstage warmth, both are
gifted songwriters, who have received recognition at a national
level, including the ASA awards and Best New Talent at Port Fairy
Folk Festival early in their career. Their lyrics, equal parts heart and
humour, sparkle with original intimacy. Their live performance is
packed full of energy with a fine band comprised of guitar, violin,
mandolin, accordion piano, double bass, drums and percussion, with
special guest Pugsley Buzzard joining on the night. 8pm.

With Centenary events popping up in every direction, Canberra is
certainly not running short of ways to celebrate its 100th. One event
not to be missed is this year’s Canberra International Music Festival.
Experience ten days of exceptional music performed in Canberra’s
amazing architectural spaces. Choose from over 30 concerts of
classical, contemporary and jazz, featuring national and international
artists, including US composer Paul Dresher and Double Duo
performing on invented instruments, and the explosive dynamism of
Taiko drumming group, TaikOz. Many events are free, ticketed events
are $25-$65. Details at: cimf.org.au or on (02) 6230 5880.

WHO: Tin Lion
WHAT: National Tour
WHEN: Sat May 11
WHERE: Transit Bar

After a hectic 12 months since the release of debut LP, From Space
With Love, including three triple j Unearthed number ones, support
slots with the likes of Pigeon and The Aston Shuffle, and cinema
screenings of the film clip to Best Pants, Tin Lion are taking to the
road. Twice likened to a pared-back version of LCD Soundsystem,
Tin Lion do more on stage than two people ought to be able with live
drums, guitar, keyboards and percussion, and an engaging stage
show led by frontman Jesse Fultone. The Prelude To Cool tour brings
the band and its signature ‘psychedelic dance rock’ to Canberra with
songs from their upcoming Let’s Look Good EP. 8pm. Door price TBA.

WHO: Hailer
WHAT: Album Tour
WHEN: Sat May 11
WHERE: The Phoenix Bar

For a taste of Sydney psychedelic rock ‘n’ roll, catch Hailer when
they bring their latest album Another Way to the first edition of
Garage Syndicate at The Phoenix. Beginning the Another Way
journey at guitarist Pete Beringer’s studio compound in early 2012,
they took the clocks off the walls and by the eighth sunrise had a
new album. Mixed and mastered in Brooklyn, NYC, the new material
shares the eclectic spirit of Hailer’s Good Canyon, but departs from
psychedelic soundscapes to more rhythmic guitar-driven music,
resulting in an intensity for which the group’s live performances are
known. With Royal Chant and New Brutalists. 9:30pm. Free.

Ten-string guitar virtuoso and Maton-endorsed ukulele-player
Matthew Fagan presents Lord of the Strings, an uplifting
performance with a dazzling fusion of Spanish, Celtic, bluegrass,
country, rock, folk and ambient sounds with many original scores.
Matthew will take you on an aural voyage from the beautiful music
of Hawaii to rock classics from The Beatles, as seen on tour with
Billy Connolly and the Buena Vista Social Club. Come prepared
with some requests of your favourite ukulele and guitar tunes for
the Uke/Guitar Challenge. Fagan is an exhilarating, breathtaking
and captivating performer, not to be missed.7:30pm. $15/$10 door.

The Perisher Snowy Mountains of Music is back for 2013 and
celebrating five years. In 2009, the festival began as a little
grassroots festival and has now grown in size and status with
international artists taking to the stage and festival-goers flocking
from far and wide to experience this unique event. Attendees
can anticipate a stellar line-up of over 140 concerts that’ll blow
their socks off. This year the festival will also be bringing back
a selection of artist favourites who’ve wowed audiences since
2009. Check the festival Twitter and Facebook pages for updates.
Tickets vary, bookings at snowymountainsofmusic.com.au.

@bmamag

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15

ben hermann
It’s been almost two years since
Canberra’s self-proclaimed
‘tropical punks’, THE FIGHTING
LEAGUE, released their debut
LP Tropical Paradise. Now, with
a new EP under their belt and
a second LP in the works, their
renowned descriptor is tragically no more, with the
group’s frontman Dominic Death citing a pique in influence
on popular clothing manufacturers as the primary factor in
abandoning the label.

The Fighting League’s clean,
punk-driven, bluesy, and
often jangle songs might have
listeners believe the members
are directly influenced by many
of the above-listed bands,
together with, perhaps, a healthy
dose of The Minutemen, Wire, and The Dickies. Yet the group’s
style is the result of a well-fitting confluence of styles, each
provided by different band members.

‘Yes, “tropical” is officially dead, which is extremely sad,’ he
says. ‘See, General Pants, places like that, they came and saw
The Fighting League and they saw what we were doing. Big, big
corporations came and saw our style and saw what we’d done
and they’ve been marketing that ever since. So we’re not doing it
anymore. We’re just gonna be straight-up Canberra punks. We are
Canberra punks. That’s our sound.’
With a new self-imposed identity may come a new musical focus.
Tropical Paradise was a stripped-back, raw album on which the
band sought to reproduce the energy and anticipation of a live
show, and which BMA Editor Ashley Thomson described as
‘discordant and melancholy, packed with life and growling youth.’
It was produced by Bruce Callaway – former member of The
Saints and producer of Ed Kuepper and The Triffids – and drew
stark comparison with early garage, punk and new wave groups,
including The Clash, Stiff Little Fingers, Gang of Four, The New
York Dolls, and The Buzzcocks.
The group hasn’t consciously changed musical directions, nor has
it drifted away from its focus on the energy and immediacy of a
live sound, but Dom admits that this isn’t the primary focus of
their second album.
‘With our first album, it [the live sound] kind of just happened
because we recorded it live anyway. With this album we’re trying
to take a different approach and just try and work on the actual
songs a little bit more and the actual recording of it. We’re not
really sure how we’re going to do it yet, but it will probably be less
live than last time.’
Callaway produced the group’s recent EP, but Dom says the group
is undecided whether they’ll call upon his expertise for the album.
In any event, he says the group has learned an immeasurable
amount from Callway, especially when it comes to songwriting.
‘The most important thing we learned from Bruce is that you have
to put a lot of time and effort into the music,’ Dom says. ‘And we did
do that [on Tropical Paradise]. But in retrospect, there were a lot
of things we wanted to change. Not the recordings, but the songs
themselves. But in the end, we just wanted to get it out there as
soon as possible, and we were definitely still happy with it.’

16

‘We’re just influenced by every single bit of music we listen to. I’m
influenced by new bands I see more than old bands… Actually,
that’s a lie, I just made that up,’ Dom admits, going on: ‘I think our
sound is unique because every single one of us has a different
style we like playing. I like different music to Carey. Andy likes
different music to the rest of us. Joel listens to hip hop. Alex likes,
just, fuckin’ weird music. When all those elements are combined,
it makes an original sound. That’s what I like about our band, and I
think that’s what people like about our band.’
Although such differing tastes inevitably lead to creative
differences, Dom sees this as no different to the group’s usual
dynamic, and ultimately healthy for their musical development.
‘It happens all the time [creative differences], but that’s the
same with anything, you know. Carey will say something like
“Dubrovnik’s the capital of Serbia” and I’ll say “Fucking bullshit it
is”. The same thing happens with our music. But once we keep on
playing through it, we can all see that it’s all for the greater good
of the music. You know, the truth always comes out.’
But what of being ‘Canberra punks’? Although the group was
explicit in its detailing of the characteristics of ‘tropical punks’,
it is clear that being ‘Canberra punk’ isn’t so complicated. ‘Yeah,
mainly just living in Canberra and not being part of some wanky
scene,’ Dom says. He goes on to explain how, although there are
many benefits of Canberra’s musical community being so closeknit, bands are sometimes too hesitant to criticise each other,
which can prevent the improvement potentially brought on by
competition and open criticism.
Ultimately though, he is part of the Canberra scene – a fact the
group confronts every time the venture outside the territory.
‘They [other cities] definitely judge us, but that’s mainly because
I’m always saying that their cities are shit,’ Dom says. ‘But also,
to be on a particular scene, you’ve gotta be cool, and to know and
be seen with certain people. But we’re already cool. We’re on the
Canberra scene, so we’re ultimately cool.’
The Fighting League play at Bizoo-Ka Fest: the launch of the
retrospective book of Bizoo ‘The Best, the Worst & the Trash that
Never Made It’ at The Front Gallery and Café on Friday May 24,
7:30pm (bands from 9pm). Supported by Bad Pharmer (launching
their EP), Dead DJ Joke, and spoken word poets. Entry is $10.
Image
credit: David Burke
@bmamag

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17

ALL AGES
Hey folks. I don’t know about you, but recently I’ve been pondering in
the depths of my soul. Who am I? Why am I here? Why does my room
smell like cat pee? And what is all this fuss about YOLO? The result:
bad teenage poetry, but above all, a lengthy and outrageous bucket
list. If you only live once you might as well do heaps of amazing
things, especially while you’re young and free. I never did solve the
cat pee mystery though…
So, is being a special secret information reporter on your bucket
list? If so, you should definitely consider applying for a journalism
internship for The Kids Are All Right.
Never heard of them? Here’s the rundown: The Kids Are All Right
is an online community that provides support and advice for the
parents of teenagers, and they’re looking for an inside opinion.
The articles that you write will be aimed at parents, but will cover
issues that relate to young people like your handsome self. Like the
idea but not into commitment? Don’t worry, one-off submissions
are also welcome. Expressions of interest should email contact@
thekidsareallright.com.au and for more details on the internship,
visit thekidsareallright.com.au/journalism-internship.
Or have you always wanted to be in one of those dance movies you
loved so much as a young twelvie? (Don’t be ashamed, Step Up 2 is
still the greatest film ever made…right guys?)
Your chance to pretend you are has finally arrived! Think of the
Australian Hip Hop Championships as the final dance-in-the-rain
scene from Step Up 2, and think of yourself as one of those lucky
spectators. However, instead of being outside in the pouring rain,
you’ll be nice and cosy within the walls of Lyneham High School. The
epic battle will take place on Saturday June 1. The winning dance
crew will earn a spot in the National Finals in Melbourne. Tickets are
available from Moshtix for $20 + bf.
Have you always wanted to own an awesome band t-shirt but
never had the chance? Boris the Blade answers all your hopes and
dreams in one glorious night, Thursday May 16, when they play at
the Lanyon Youth Centre. This five-piece deathcore band hail from
Melbourne and have caused waves of interest since forming in
2011. They’ve since made a name for themselves through a series of
successful tours. Special bundle tickets for their show are for sale
from Oztix for $25 + bf. The bundle ticket includes a Boris the Blade
shirt and guitar pick. All shirts and guitar picks are redeemable upon
entry at the show.
Number 30 on my bucket list leads reads as follows: befriend
someone with the same last name as me. And that’s why I want to
go to Alanna and Alicia Egan who launch their new album at The
Merry Muse, Canberra Southern Cross Club on Friday May 10. Folk,
jazz, roots and being twins is their specialty, so don’t miss it! The gig
starts at 7:30pm, under 16s get in free and concessions (such as you,
you fine student) admit for $14.
That’s all, folks, but remember this motto: ‘I want to live a boring life,’
said no one in the history of ever. So live it up!
Cheers,
ANDIE EGAN
allagescolumn@gmail.com

18

@bmamag

LOCALITY

YOU MADE
MY DAY!

Sex Noises. Mention that in your next conversation about band
names. They’re launching a demo on Thursday May 9 at The
Phoenix Bar from 9pm with fellow locals TV Colours and Beach
Slut. Mention Beach Slut too. Mash their names together to create a
supergroup. Mash them together with no motive at all. Do it slowly.

Email editorial@bmamag.com to send a message of gratitude,
warmth and generosity to the world at large. AWWW.

Trinity Bar is hosting a DJ competition created by Pang! and Our
Sound, setting aside Thursday nights from Thursday May 9 to
determine the best DJ in the ACT. DJs are competing for a residency,
bookings and cash prizes and the competition nights kick off at
9:45pm. May the best thin pale person win.

I take for granted how good it is to have good neighbours but

Everyone’s favourite threatening refuge for pool tables, The
Basement, is holding yet another Metal Fiesta on Friday May
10, with a whole mess of local and interstate acts (Contrive,
Psynonemous, Decadence of Cain, Dark Nemesis and more) taking
over the place from 8pm. The door price is $20.

all the more enjoyable and so annoyed we have to move. Let’s

The following night, Saturday May 11, alt country group Brothers
Grim are bringing their album launch tour to The Polish White Eagle
Club. They’ve enlisted The Blue Murders, Papa Piko, The Bin Rats
and Beth n Ben to support, the doors open at 7pm, and tickets range
from $15 to $25 depending on how brown your teeth are and how
much gin you can drink.
Monday May 13’s edition of The Bootleg Sessions at The Phoenix is
programmed by 2XX LocalnLive and, as per usual, starts at 8pm and
is free. Appearing are The Sinbirds, Fuzzsucker, Cold House and
Spartak, who are all brilliant in marked, unique ways. If you have yet
to see Fuzzsucker, enjoy.

To my awesome neighbours on all 3 sides of my battle-axe rental
property. You really do make living somewhere better. Honestly.
after having so many shit ones over the year, just a simple G’day
or wave when we see each other is awesome. Such reassurance
that not all people are fucked. Thanks for making our tennancy
hope the new neighbours are as understanding and awesome as
yourselves. You made my year, let alone my day.
To Clive Palmer, you made my day. Titanic 2. Need I say more?
Dinosaur park. Need I say more? Running to Prime Minister of
Australia with a aprty that hasn’t existed for decades. NEED I
SAY MORE. You are an obese megalomaniacal freak and that
scares the fuck out of me but life is better for having your fat,
fat, fucking FAT arse in it. Go’on n git it, you sassy fat bitch.

The following weekend kicks off in style, with Los Chavos, Nyash!
and some samba dancers and circus performers turning the
Canberra Musicians Club’s Friday night fixture at The Polish White
Eagle Club on its hemispherical head. The doors open 8pm and
tickets are $10-15, this time depending on the genuineness of your
regret at Hugo Chavez’s passing and your familiarity with the films
of Alejandro González Iñárritu. Local melodic punk outfit Revellers
launch their EP, Night Time Lunatics, at Transit Bar on Saturday
May 18, with Brisbane punk band My Fiction and local Pete Akhurst
supporting. Doors open 8pm and the admission’s $10. Turn to page
23 for an interview with their frontman, Gaffers. And to round out
the weekend, head to The Tradies in Dickson between 9am and 5pm
on either Saturday May 18 or Sunday May 19 to get involved in the
recurring and very self-explanatory Big Record, CD & Book Sale.
Entry is free. Everything else is not. Or it is. I mean, try it and see, hey.
Finally, locals The Second Hand Salmon are playing The Phoenix on
Thursday May 23 with Party Gravy and Ellie Thurston. The show
kicks off at 9pm – and despite Party Gravy having a name as utterly
balls as Sex Noises is balls-out, they alone are worth it.
And that’s everything local I care about.
ASHLEY THOMSON - editorial@bmamag.com

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19

It was me needing to be
myself, otherwise I’m
not going to connect
with these songs for the
next two years

between
then and now
epitomises
Emma
Louise’s
journey since she released that catchy, hypnotic song of hers, Jungle.

HEART PREVAILS
zoe pleasants
Two years ago at the Woodford Folk Festival EMMA LOUISE would
get up super early to write her name on the Chai Tent chalkboard,
and she would ask her friends to boost the crowd whenever she got a
spot. This year she returned with her own show at Woodford’s second
biggest venue The Grande and played in front of a massive crowd,
amongst which I spotted Kate Miller-Heidke. Such a stark comparison

Emma Louise has an understated, hesitant manner; she was much
more comfortable talking about her music than her success. But her
hesitancy doesn’t come from a lack of confidence, quite the contrary;
I got the impression she knows herself well. And once she tapped
into it, it seems her confidence helped her deal with other people’s
expectations and aspirations for her debut album, which she
released in March.
‘My mind was very conflicted when I began making the album,’ she told
me. ‘That’s why I called it Vs Head Vs Heart. It was like, okay, these
people in suits are telling you to do this because they know best and
that’s how you’re going to get on radio. And then it was me needing to
be myself, otherwise I’m not going to connect with these songs for
the next two years, and I have to sing them to people and I don’t want
to be lying to people when I
sing them.’
In the end, it was finding the right
producer that enabled Emma
Louise to make the record she
wanted. After working with other
producers and being disappointed,
she eventually called Matt Redlich.
‘I was so down because I had tried
four or five times already to get
the perfect sound that I wanted
for the album. So that night when I
got the mixes back [from another
producer], I called up Matt. I got
his number from a friend and went
over to his studio and we started
recording the next day. His style of
production was exactly what
I wanted and everything just
fitted together.’
Inspired by her collaboration with
Matt, Emma Louise then wrote a
bunch of new songs. ‘So halfway
through the album, I wrote Boy,
Cages, Mirrors, Bases and one
other one, inspired by the sound
we were making, and then there
were songs like Stainache and To
Keep Me Warm which were kind of
quite obviously the old strain of my
writing which was more folky.’
Now the album is finished, Emma
Louise is very relieved and is
looking forward to touring it. She’s
also found some time to reflect on
all that she’s achieved over the last
two years and finds herself ‘being
really grateful for the ride I’ve
had so far’.
Emma brings her Vs Head Vs Heart
tour to Zierholz @ UC on Saturday
May 18, 8pm, with supports Thelma
Plum & Patrick James. Tickets are
$23.50 through Oztix.

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SEEK AND YE SHALL…
michele hawkins
Three young Aussie men form a band. By chance, one of them works
with a secretary who is also a musician. He invites her to meet with
him and the other two. They all get along well and start performing
together. They are soon to be the first Aussies to break into the UK
and US markets, to top The Beatles and The Rolling Stones, and to
change the musical world forever. It’s the early ‘60s, and they are, of
course, THE SEEKERS: Athol Guy, Keith Potger, Bruce Woodley, and
Judith Durham – one of the world’s extraordinary and incomparable
combinations of talent. 50 years on, this band of dear friends and
marvellous
musicians is about
to tour Australia in
celebration of half
a century together.

If I’d been told at
age 20 that I’d be
away for four years,
I’d never have gone

Enter Helen
Edwards, a gifted
Australian painter, who last year completed the first ever portrait
of The Seekers. That wonderful portrait was given to the National
Portrait Gallery a little over a week ago, where it now hangs for all to
enjoy. I was privileged to be there for the gifting of the portrait.
Given the chance to speak with Judith, I sought her reflections on the
beginning, what it was like being very young, and making the transition
into womanhood while managing the demands and pressure of
sudden fame.
‘I think there’s something orchestrating all this. For a long time I didn’t
believe in destiny, but now I do. I was always passionate about singing.
I started when I was six. I aspired to be an opera singer, but it was a
huge blessing not to train for opera. It would have been unrealistic for
me, especially as I had a lung condition since I was four.
‘There are so many choices in life. If I’d been told at age 20 that when
I left to provide entertainment on an ocean liner for some weeks I’d
be away for four years, I’d never have gone. I had no idea that London
was the centre of the universe when I arrived with my homemade
wardrobe. I had no experience in the corporate world, and I didn’t
know about how women had greater difficulties “out there”. There
were lots of ups and downs, but I feel I was very protected. My sister
was in London and I wrote to Mum and Dad all the time. They were
very proud and encouraging. I just tried to make sure the voice was
good and to do a good job. I think it would be very difficult if all
the things ahead of us in life were not concealed. Life has been
presented in steps.’
And has it been fun? ‘There’s a lot of fun in it, but I see it as a huge
responsibility, a duty. But there’s also passion; doing the best you can,
doing it well, so that people experience what I’d like them to. It’s a
deeper experience than fun.’
The Seekers played sold out shows in Canberra on Fri & Sat May 3 & 4 and
their portrait is on display now at the National Portrait Gallery.

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NO RUBES
peter o’rourke
There are very few bands that can lay claim to signing a record deal
before they have barely played any shows or even really formed
properly. There are even fewer bands that can then say they recorded
their first album only months later in New York, with a producer who’s
worked with The Strokes, Lana Del Ray and Paul McCartney.
However, a four-piece rock group from Menangle in New South Wales
can say exactly that. THE RUBENS’ rise has been an upward trajectory
ever since they came to attention of the indie masses through triple
j Unearthed. The blues rock group have just embarked on their first
national tour
and will hit
Canberra to
play a show on
Wednesday
May 22.

We had to keep
reminding ourselves of
where we were a few
years ago – I really do
have to pinch myself

‘We had our
first show in
Byron, which was awesome,’ says keyboarder Elliot Margin. ‘We didn’t
need too much pre-show practice, we’re pretty tight at the moment,
having played a heap of gigs recently.’
Made up of three brothers and two childhood friends, the Rubens’
gutsy, bluesy sound is reminiscent of modern groups such as The
Black Keys and Kings of Leon. Elliot is insistent that they didn’t grow
up with the sound though. ‘None of us grew up with blues; it was more
just was whatever was on in the car during family holidays, with bands
like REM and Fleetwood Mac, etcetera. The music we play now is what
we sought out when we grew up.’
After forming the band and recording a few tracks on their home
computer, the boys put their music online and Elliot’s brother Zaac
emailed the host of the Australian music show on triple j, Dom Alessio,
who in turn passed their music around the office.
‘The record deal and everything happened really quickly, and we had to
keep reminding ourselves of where we were a few years ago – I really
do have to pinch myself about it!’ says Elliot.
So what was it like to record with David Kahne in New York? ‘This
was our first studio experience,’ Elliot explains. ‘We had no idea
before, having just recorded on a home computer. We had to be
really switched on and learned so much in the process. We did a lot
of preproduction, relearning songs to be able to record them and
working on the hooks – just really thinking about the music.’
Elliot says that Kahne brought out professionalism in their music.
‘Before then we were not tight at all – we were quite sloppy actually!’
Elliot says that they all keep each other grounded, with one grilling the
other if they say something a bit out of line. ‘We’ve grown up with each
other, so we know what it’s like to spend a lot of time together – being
on the road touring isn’t an issue. We’re just excited about playing
some of those bigger shows in bigger venues!’

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The Rubens bring their Never Be the Same tour to ANU Bar on Wednesday
May 22 from 7:30pm. Tickets are $31.25 + bf through Ticketek.

@bmamag

Image credit: Nudgepix

ANY EXCUSE
FOR A REVEL
danika nayna

As outlined to REVELLERS’ Aaron ‘Gaffers’ Gaffney, I ain’t about to
admit I’m any kind of punk expert. And so to describe their sound,
I have combined the search tags on their website to make up for
my lack of knowledge: melodic-punk-alternative-hardcore-indieCanberra. Has a
nice ring to it.

Josh needs his own
air-conditioning duct
going from his arse to
outside of the jam room

Gaffers just calls
it ‘melodic punk’.

Unlike myself,
these guys
have got the whole thing all under complete control and kindly
offered to tell you the story about how a group of Canberra fellas got
themselves an EP and a pretty damned good following.
‘We have three fellas. There’s myself, Josh ‘Ando’ Anderson and Dave
Demaine. Ando and I met way back in Year 7 – which was now around
18 years ago. Holy shit.’ I think we just witnessed Gaffers realising
how old he is.
‘After a few years of mucking around, we started playing shows
around Canberra as “Lamexcuse”. Dave joined later after meeting
Josh at an Irrelevant concert at Tuggers Youth Centre.’ Ah, the TYC,
where all big career dreams are born; usually to extend a clientele to
whom one could sell ciggies for $1 a pop. Instead, Revellers now have
their very own EP, produced by punk legend Stephen Egerton. And
when creating Revellers, the talented buggers did a bit of instrument
hopping. ‘We’re been able to watch each other develop and the way we
set up the band has definitely kept it fresh for us.
‘Speaking of fresh, Josh’s arse is the anti-fresh. He needs his own airconditioning duct going from his arse to outside of the jam room and
Dave isn’t much better either.’ (At this point I would like to invite Dave
and Josh to write to the BMA YPMO section at editorial@bmamag.
com with a 200-word retaliation to your ‘friend’ Gaffers.)
Gaffers reports everyone gets along regardless. The band’s attitude is
to keep it simple, but when speaking about it, use complicated words.
‘As soon as something becomes a bit too busy or technical, we strip
it out. We try to keep the songs more vocally based so they’re better
to sing along to, rather than trying to melt people’s faces off with our
mad licks and sick riffs on our gats!’
No plans to leave the ‘berra for these blokes. Apparently they quite
like it. ‘It’s always easy to wish for more but I’ve realised that, even
though we may not get every music festival or have venues around, we
also don’t have to put up with a lot of the other shit that can go along
with living in a big city.’ Speaking of Canberrans, Gaffers would like
you to go to their show. I think that was the point of this exercise, but
he had such wonderful words about other things. ‘Come with an open
mind, leave your toughguy/sickunt attitude at the door, and I’ll see you
at the bar in time for the first band!’
Revellers launch their new EP, Night Time Lunatics, at Transit Bar on
Saturday May 18, with My Fiction and Pete Akhurst in support. 8pm.
$10 door.

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23

DANCE
THE DROP

America has a penchant for taking normal ideas and creating
their own ridiculously libertine interpretation. A single hamburger
patty? No way, average consumer, check out our new quadruple
megasaurus meat sandwich! You own a Prius hybrid? That’s not
going to get you to work on time, try this supercharged hybrid
monster truck that is fuelled by dolphin tears! How is any of this
relevant? One appallingly contrived acronym ties the whole thing
together – EDM. The EDM brand is America’s voluptuous gift
to the dance music universe. It is a flame-belching, pyrotechnic
caricature of the European club scene that has awoken a fluoro
army. TomorrowWorld is the latest hedonistic playpen for America’s
wide-eyed youth; the headline acts seem strangely similar to one
another (Axwell, Sebastian Ingrosso, Alesso, Hardwell, etc.), which
leads me to believe that the huge red, white and blue EDM bubble
may be on the verge of exploding if greedy promoters don’t practice
diversity a little more.
Speaking of diversity, Academy plays host to one of Australia’s
most multifarious club wizards, tyDi on Friday May 10. The former
Aussie number one is bringing a bunch of new trance and prog tunes
with him that are sure to make you see pretty colours and feel all
tingly and weirdly close to strangers. Pred, Chief, Everest and Jared
Kong are on support and entry is a paltry $15 before midnight.
Hands up who ikes hardstyle? Ooh look, all of you have glowy
bracelets! Quickest way to spot a raver, in my opinion. Well, that and
Hello Kitty backpacks…on guys. Hardstyle fans are a very unique
breed. Proper weekend warriors can go without sleep from Friday
until Sunday, and they eat only in lollypop form (with the occasional
Up ‘n’ Go) and always travel in packs of three or more. You can see
loads of hardstyle fans in their natural habitat at the Unity event at
Krave nightclub on Friday May 10. This edition is headlined by two
hectic newcomers HSB and The Khemist. Locals supports include
Nasty, Ben Penfold, Fuentes Brothers and Soundsmith. Entry is
only $15 on the door, and don’t forget to take Monday off.

given that just last month I reported a cruel April Fools joke
involving a mythical new BoC album entitled Quetzalcoatl. Anyway.
Fingers crossed. [Ed: Morgan’s fingers have since been broken for
neglecting to include the news that Boards of Canada’s new album
has been announced. It will be called Tomorrow’s Harvest and comes
out Friday June 7.]
Daft Punk, Daft Punk. Every electronic music blog in the world has
been going crazy about these two silly Frenchmen who dress up in
robot suits. Even that repository of all things techno-nerd, Resident
Advisor, gave four and a half stars to first single and notorious
earworm Get Lucky. That’s unusual praise from a website that won’t
generally review any music played outside of dingy warehouses,
underground bunker clubs or dank sewer caves. Okay, I’m excited
too. They’re talented guys and I’m sure it’ll be a really good album...
although not anywhere near as good as the theme for Tron: Legacy,
which I still hold is the greatest piece of music ever written.
All the Daft Punk hype aside, April has seen some more mysterious
stirrings from Scottish enigmas Boards of Canada. It’s been
eight years of silence since the brothers’ last album Campfire
Headphase, and fans have had to content themselves with a quality
back-catalogue and numerous bootlegs and rarities. It’s actually the
constant questing for these hard-to-come-by releases that seems
to define the hardcore BoC fan. Appropriate, then, that the duo
have organised what seems to be a worldwide, intricately-planned
treasure hunt. It all started on Record Store Day (April 20), when
a lucky customer at a shop called Other Music in New York found
a record in a cover bearing the words ‘Boards of Canada’ and a
36-digit, six-part code. Since then, various obscure clues have been
unveiled in a variety of forms, from BBC Radio 1 announcements
and Adult Swim ads, to internet message boards and YouTube video
annotations. It seems to me like the beginnings of a very clever
album campaign. But how can we possibly dare to hope? Especially

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Otherwise, it’s been a month of long-awaited artist albums: Bonobo,
James Blake and The Knife all released long-players and all were
met with general approval. Good! Bonobo lead the charge with an
early release of The North Borders, after a volunteer staff member
at a Melbourne radio station set it loose on Pirate Bay. The only
thing he received for his troubles was a torrent of shame. Tsk, tsk.
April also saw the release of Cosmin TRG’s new album, Gordion.
It’s a surprisingly melodic treat – nothing like most of Cosmin’s
work from the past three years, such as the bone-crushing techno
of Separat/Izolat. He said in a recent interview: ‘I’d intended the
whole album to be really minimalistic and kind of hypnotic and it’s
not minimalistic at all. I didn’t want it to be musical, and it is fairly
musical. I wish I had an explanation for it. I’m still mad with myself
for it, because it’s too musical.’ Well, Cosmin – we’re not mad at you.
The Romanian will be here in June and I urge you not to miss out.
One last little thing before I go. I spent a good chunk of last month’s
column frothing about Max Cooper’s imminent Australian tour. You
may have seen his well-groomed, digitally-manipulated face gracing
last issue’s cover, and read an intriguing piece on Sense without so
much as a word from the headlining artist himself. Well, we didn’t
get the answered questions back in time for the press deadline! So
there. But if you want to know more about Max, read the Q&A on the
BMA website. (If you’re already reading this on the website – well
done, you’ve mastered computers!)
MORGAN RICHARDS
morg.richards@gmail.com

25

BEYOND THE
WATER’S EDGE
jade fosberry
CHANCE WATERS is like popcorn and Maltesers. You probably
wouldn’t think the two cinema snacks would mesh well and you’d
definitely question the end result of melted, malted chocolate
goodness. I digress. Chance Waters is like popcorn and Maltesers
because he manages to combine elements of a multitude of genres in
such a seamless way that you’re left dumbfounded, appreciative and,
ultimately,
extremely
satisfied.

[It’s] about the way
infinity – and, in a
broader sense, physical
reality – alters and
shapes experience

Chance is
currently
touring
his album
Infinity all
over Australia, from rural Gippsland to our very own capital. I had a
lovely chat to Chance before his near sold-out Melbourne show about
all the important things in life, from philosophy to hip hop.
Infinity, his recently released sophomore album, takes its inspiration
from Chance’s favourite philosopher, Douglas Hofstadter. As Chance
puts it, ‘It’s about infinity, but more about infinity from a human
perspective; sort of about the way in which infinity – and, in a broader
sense, physical reality – alters and shapes experience.’ He explained
that he usually writes from a personal place, so by basing the album
on the theme of ‘infinity’ he was reminded to stay in that space.
The album tackles issues that are thought-provoking, from the
question of doomsday in Maybe Tomorrow to his own personal
relationships in Young and Dumb. The carefree way in which Chance
manages to write, rap and sing about these topics begs the question
of how he’s able to do it. ‘Sometimes I’ll have something that I want
to talk about, and often those topics will lend themselves to a more
serious or sombre piece of music, but when I start writing to a
more lighthearted tune it tends to come out in a kind of sarcastic,
tongue-in-cheek way, which I actually think really works.’ He cites the
fact that musicians can easily fall into the trap of matching genre
to topic, but as he demonstrates, that’s not the only way to play it.
His transition between genres from hip hop flows to folk melodies
and pop beats is second nature to Chance and he’s lucky enough
that these components come together easily. ‘I think it just happens
automatically because there’s so many different textures you can play
around with. I think a lot of artists – either because they really like a
sound or because that’s their only frame of reference – do something
that’s a bit derivative. But there are definitely more artists now that
are crossing those barriers.’
We’ll experience Chance’s musical smorgasbord when his tour arrives
in Canberra. He’ll be bringing his band, The Grey Starring Liam Neeson,
along with an array of instruments, from the banjo to the iPad. ‘We
put on a pretty interesting show. It’s taken a long time to hammer it
together because of how much stuff we do but Canberra will be at the
tail end of the tour so it should be pretty good.’

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Catch Chance Waters and his band, as well as Mind Over Matter, at Transit
Bar, 8pm on Thursday June 6. Tickets are $15 + bf through Moshtix.

@bmamag

Relentless were announced last week as the support for the whole
Australian tour. Also appearing is Set The Wolves.

METALISE
I was pretty stunned to wake up last Friday and hear about the death
of Jeff Hanneman last week at a mere 49 years of age due to liver
failure. One half of one of an untouchable metal guitar duo that
shaped and influenced heavy music, he was kept from touring with
the band on their last two Soundwave tours of Australia by necrosis
but I was honestly shocked and never thought that it would have
consequences this final
I think of the time I was eating McDonalds watching rats rummage
through the rubbish in the alleyway nearby with Hanneman King
and Slayer’s manager Rick Sales and they were talking about the
Australian market. I was blind drunk and they were talking about
package touring and the cost
of bringing Mastodon and
Megadeth out with them on the
previous and current tour and
I said, ‘You guys should just do
Soundwave or Big Day Out if you
wanna do package tours and you
can still do side shows where if
you lot came out and took a dump
on stage you’d have a sold out
venues screaming SLAYER!’ and
they all looked at me like ‘Who
the fuck are you?’ and I just shut
up and ate my cheeseburger.

It’s not too far off ‘til the fifth Evil Invaders festival in Sydney, which
is on over the weekend of Fri & Sat Jun 7 & 8 at Manning Bar in
Sydney. The Friday show features Midnight (USA), Portal, Nocturnal
Graves, Spire, Erebus Enthroned, Witchhammer and Crone.
The Saturday show starts a little earlier and features Sadistic
Intent (USA), Archgoat (Finland), Cauldron Black Ram, Cruciform,
Vassafor, Grave Upheaval, a super special one-off performance by
Dave Tice performing classic tracks from Australia’s first ever heavy
band Buffalo, Ignivomous, Inverlock, Whitehorse, Black Jesus,
Stand Alone, Bleakwood, Hordes Of The Black Cross and Kingdom
of Decay. Well worth getting up the Hume for that weekend, but be
aware the tickets aren’t cheap. A weekend pass is the very specific
$105.70, Friday for $59.90 and the Saturday-only one is $68.50. You
can call (02) 4422 5982 to book your tickets for those or head to
thecoffinsslave.com and click the tickets link to book.
JOSH NIXON - doomtildeath@hotmail.com

RIP Mr Jeff Hanneman, too young
and thanks for all the riffs.
So who went to Sabbath? Great
setlist with only two new songs
amongst an otherwise sterling
two hours chock-a-block with
the greatest riffs of the ‘70s.
Ozzy managed to actually exceed
my very low expectations and
thus the couple of fluffs here
and there – notably when the
teleprompter failed him in
Electric Funeral – actually kinda
enhanced the entertainment
value for me. Great show.
Unida hit Manning Bar in
Sydney this Friday May 10 with
an almighty supporting cast
including, according to Josh
Homme, ‘the greatest band to
exist ever’, in Swedes Truck
Fighters. The excellent and long
overdue for a visit New Zealand
act Beastwars are also in tow
and last, but never least, is our
own masters of the strings in
Looking Glass.
Funeral for a Friend hits The
Basement in Belconnen this
Sunday May 12 and Sydney band

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The Kooks
by Paolo Ruiz
Groovinâ&#x20AC;&#x2122; the
Moo Canberra
2013

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29

E X H I B I T I O N I S T

ATTACK OF THE WORDS

Image credit: Rohan Thomson

vanessa wright
Do you know one way to successfully freak yourself out? Start
reading about antibiotic resistant bacteria on the internet. You may
not understand anything you’re reading, but you will understand that
it is bad. Real bad. Local theatre collective Boho Interactive are just as
worried as you will be and are exploring the ramifications of antibiotic
resistance and the all-too-real possibility of a disease epidemic in
their new work, WORD PLAY.
Boho are a Canberra-based interactive science-theatre collective,
who use performance to explore the complex systems of science and
game theory. Working in partnership with CSIRO, Word Play is part
lecture series, part live video game and all interactive. It utilises the
latest and most available tech equipment and a high speed broadband
connection to create an immersive and simulating experience which
fits in somewhere between theatre and film. The audience is located
in the CSIRO Discovery Centre Lecture Theatre and the performance
is live streamed from a laboratory on the opposite side of the city. Via
a purpose built Smartphone app and text messaging the audience are
able to interact with the performers in real time, becoming integral to
the performance.
Jack Lloyd and Michael Bailey, the writers and producers behind Word
Play, wanted to investigate the idea of an infectious disease epidemic
but via language and communication. In the play, the fictional infection
targets our ability to think critically and filter information. Lloyd and
Bailey wanted to explore what that scenario would look like. ‘Turns
out it looks an awful lot like a zombie plague,’ admits Lloyd. ‘Thinkingman’s zombies – not violent but they are incredibly dangerous.’
Victims of this infection immediately believe everything they read
and hear, no matter how contradictory it is. As Lloyd explains, Word
Play is, ‘a statement about the ocean of misinformation that’s out
there, and if you were to believe everything you heard, you would
basically be screwed.’
With a strong interest in complex systems, Boho are exploring how
an epidemic situation would be handled. So in order to realistically
work out the equivalent systems and process for quarantine and
vaccination measures for their fictional disease, they approached the
real disease experts. Lloyd, Bailey and Boho’s third member, David
Finnigan, had the incredible opportunity of visiting the Australian
Animal Health Laboratories near Geelong, Victoria. There, they were
lucky enough to be taken to Biosecurity Level 3, which they described
as ‘like being in Outbreak’, but better. As Lloyd remarks, ‘They were
really generous with their time and gave us some really amazing
ideas about what their process would be if there was some major
outbreak…and a lot of that has come through in the play.’

30

Science is struggling with communication, particularly in health
science, and pure facts are increasingly less successful at grabbing
the public attention. Integrating theatre and interactive performance
with science is a clever and engaging way of drawing people’s
attention to significant issues. As Lloyd states, ‘We have a point of
view and we push it fairly hard.’ Working in the arts allows the freedom
to push whatever point you feel passionate about, and as Bailey
explains, ‘Scientists have to be rational and go through things very
systematically, even if they have a strong opinion. But we don’t.’ And as
Boho’s company tagline clearly explains, ‘We fight dirty for science’.
Since their very first show in 2005, Boho have experimented with
using video game devices in their live theatre shows as a mechanism
for audience interaction. Previously, they have given their audience
torch beams to use as mouse cursors, hacked game controllers and
created treasure hunts. For Word Play, they have taken it one step
further and are exploring the potential of the Smartphone. There is a
purpose built app for the production which allows audience members
to vote for decisions and physically guide the performers using a
joystick controller, but also the opportunity for the audience to simply
SMS in their questions and interact with the actors on screen. As
Lloyd explains, ‘The audience are an integral part of the narrative
itself’; it is the responsibility of the audience member to guide the
actors through the events of the play and ‘throughout, the audience
are finding the hidden storyline and teasing that out.’
For Lloyd and Bailey the ability for the audience to interact via
Smartphone and alter what is happening on screen is a key aspect of
what keeps this performance a live theatre experience and not simply
a film screening. The live cinema aspect of Word Play is a completely
new direction for Boho, and in order to achieve their ambitions for the
show the collective brought local filmmaker Marisa Martin on board
as director. Martin’s job sounds challenging. As Finnigan explains,
‘It’s insane. There’s cameras set up around the space, the actors are
also mounted with cameras, and the director is sitting doing video
switching between cameras…but also talking to them in their ears
through earpieces, getting the input streams and feeding questions to
them.’ Boho Interactive are on the cutting edge of what is possible in
interactive theatre in the digital age and Word Play is shaping up to be
an unforgettable theatre experience. So grab your phone, find a friend
you could trust in a zombie apocalypse and prepare to enter Word
Play. This is one performance that is going to be anything but boring.
Word Play shows at CSIRO Discovery Centre during periods
Wed-Sat May 15-18, May 22-25 and May 29-Jun 1. All sessions
commence 7:30pm. Tickets are $20 + bf at bohointeractive.com.

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ONE QUESTION AT A TIME

ANDROID ART IS NOT ALIEN

grace carroll

chloe mandryk

‘Painting is like life, like a puzzle’ explained artist Linzie Ellis as we
sat down to discuss her latest exhibition ABSTRACTION. Showing at
The Gallery, Canberra Grammar School, Abstraction features works
that explore the possibilities of paint. In the paintings exhibited,
Ellis draws together influences from recent overseas travels and
her ongoing interest in paint, colour and the ways in which abstract
art has the potential to evoke human experience. As the exhibition
title suggests, Abstraction showcases Ellis’s abstract works. For
Ellis, working in an abstract manner comes naturally. When asked
to describe her style, she found it difficult to express; her paintings
communicate this. On the appeal of working in an abstract manner,
Ellis observed that ‘the human experience isn’t logical’ and through
abstract art she feels able to explore the experience of being alive.

Artist ROMAN STACHURSKI will open two exhibitions of kinetic still
and sound sculptures inspired by man’s footprint. And yet his titles
Second Nature and Second Future are impossible facts. We can
experience something as innate because it is learned, and can easily
imagine a second future – because it hasn’t happened yet. Sound
like science fiction? It kind of is.

Abstraction features more than 20 of Ellis’s recent paintings.
These range in size and possess a sophisticated yet gutsy quality,
signalling Ellis’s strength as an artist. Since graduating from the
ANU School of Art in 2008, Ellis has consistently exhibited in group
and solos exhibitions, and has won awards for her art. Over this
time, she has continued to develop her practice. ‘I like to explore
paint’ she observed, saying that she feels a compulsion to produce
work and enjoys the process of developing as an artist. The body
of work exhibited in Abstraction was produced during and after
her travels to England and Spain last year. The recipient of the 2011
Reading Room Exhibition Award, Ellis held a solo exhibition at the
Reading Room Gallery, London. After exploring the London art
scene, Ellis headed south to Spain. Seeing works by Pablo Picasso
and other artistic virtuosos was very inspiring, and their influence
is felt in the art Ellis produced at the time and subsequently. ‘They
worked at it and made art their whole life’ Ellis observed, telling of
her respect for the hardworking artists, like Picasso, who managed
to continually develop their practice.
Ellis draws inspiration from many artists. The contemporary
German artist Gerhard Richter and Canberra printmaker G.W. Bot
are two artists whom Ellis finds particularly inspirational. From the
former, Ellis was motivated to smear paint and further explore the
material properties of the medium. She considers G.W. Bot as a kind
of mentor, citing her as the artist who inspired her to work on paper,
a surface that is now an important part of her practice (half of the
paintings in Abstraction are on paper, the other half are on canvas).
In Abstraction, Ellis brings together a group of raw, striking
paintings that invite viewers to reflect on the connections between
life and art, both of which are, in essence, abstract.
Linzie Ellis’s Abstraction is showing at The Gallery, Canberra Grammar
School, Red Hill until Saturday May 25. See Ellis’s website for more
information: linzieellis.com.

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Roman’s key material in this installation is 50 litres of ash. The ash
will cover a variety of objects that indicate the presence and demise
of humanity and technology. Interestingly, Roman explained, ‘sand
is the first example from which I came to an understanding of the
concept of entropy, which remains a constant footnote in my art and
developing works… I choose to use natural materials as they give
me comfort on a very primal level. Refined “unnatural” materials fill
me with unease and I can never be truly at peace around them.’ These
site-specific artworks encourage contemplation but their format
promotes a sense of doom, or unwelcome omnipotence. Roman’s
works are not dissimilar to the evocative mindscapes conjured by
authors like Philip K Dick or Frank Herbert. Both novelists used sand
dunes to imply isolation, mysticism and the enigma of technology
meeting human life. Roman explores natural and alien patterns
in nature to address ‘the moot topic of mankind’s relentless
consumerist culture and its ultimate undoing of life and earth.’
He introduces infinity into the gallery space with his choice of
material. And yet each speck of ash is part of a broader whole
and you get a sense of boundlessness as well as isolation and
disconnection. A similar affect might be experienced when faced
with Ai Weiwei’s Sunflower Seeds, the hyper neon pigment overload
of Pip & Pop, or Anish Kapoor’s manipulation of audience perception
with mirrors. Roman is conscious of the experience of the viewer
and uses subjective materials to provoke a response. He explained, ‘I
like to reward curiosity with my artwork and I think that the curious
will benefit from their inquisitiveness in these instances… Art is a
valuable tool for communication and cultural enlightenment as it
allows us to share dreams, imaginations and visions.’
As for the sculpture you can expect, the artist uses found objects
that are re-worked and reapplied – computer mouse balls, cut up
measuring tapes, Venetian blinds and terracotta pots, for example.
The pieces covered in ash may be emblematic of the demise of
technology but the moving parts in this ‘kinetic’ exhibition are
powered by motors – an interesting juxtaposition. By matching the
synthetic and organic Roman shows that his work is about human
concerns: ‘the ultimate theme of my artwork at this current time is
loss, death, decay, and the entropic process of the universe.’
Roman Stachurski’s exhibitions Second Nature and Second Future are at
CCAS Manuka, Wed-Tue May 8-14 and Wed-Sun May 15-19 respectively.
Entry is free.

@bmamag

DANCING DROOGS
GRACE CARROLL
Stanley Kubrick’s iconic 1971 film adaptation of A CLOCKWORK
ORANGE is a visceral, gruesome exploration of the darker side of
human nature. A new stage adaptation of Anthony Burgess’s novella
by the Action To The Word Theatre Company offers a contemporary
interpretation of the dystopian story. Following on from rave
reviews on the London stage, the production has recently hit our
shores and will be showing at the Canberra Theatre in May. I had a
chat to Director Alexandra Spencer-Jones to learn more about this
innovative take on the divisive tale.
‘Fans of the film should not expect to see bowler hats or other
specific references to the film,’ Spencer-Jones cautioned, as she
explained that her production is drawn from Burgess’s text, and not
the classic film. That said, this is no run-of-the mill production. In
its current form, Spencer-Jones’ show is a tightly choreographed
exploration of masculinity. The cast is led by Martin McCreadie as
the deeply troubled Alex. Together with his gang of droogs, Alex
embarks on a series of disturbing and violent escapades as he
struggles to (or perhaps does not even try to) contain his dark urges.
This version of A Clockwork Orange was born several years ago.
In 2009, Spencer-Jones created a performance piece which was
staged at a popular art gallery and bar in London’s eclectic Camden
area. It was so popular that there were ‘people lined up outside
the building waiting to get in,’ Spencer-Jones reflects. For that
production, the all male cast performed without costumes or sets.
Critical acclaim for this and subsequent versions of the play
by Action To The Word led to its showing in London earlier this
year. Given the complex, eccentric nature of the story, previous
productions of A Clockwork Orange have missed the mark. ‘We are
fortunate to be one of the first well-received productions,’ SpencerJones proudly informed me. Even the celebrated Royal Shakespeare
Company failed to excite audiences with its 1990 production.
Perhaps it is the quirkiness of the latest adaptation that has
contributed to its success. The use of dance, Spencer-Jones
explained, is a key aspect of the show, and used in tandem with
acting brings the story to life. The actors’ movement range from
forceful bodily movements to balletic ones: the aggression and
violence inflicted on each other’s bodies, as well as their own, are
used to highlight the instability of the characters. Music and sounds
emphasise the force of movement. As with the film, music is a
constant throughout the play. Ranging from Beethoven (aka Ludwig
Van, Alex’s favourite), to contemporary music.
A Clockwork Orange is set to provoke, distress and enthral
audiences with its hard-hitting and eclectic nature. This is a must for
those who like a confronting, adrenalin-filled theatre experience.
A Clockwork Orange is showing at Canberra Theatre Centre, Wed-Sat May
22-25. Tickets are $69-99 + bf through canberratheatrecentre.com.au.

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Prayer is a great tool of procrastination. I reckon the first person
who came up with the idea of God was just covering lies up with
more lies to avoid having to wash the goats. And when his wife
questioned why he was kneeling down like an idiot instead of
washing the goats, he had her hung for witchery. 100% true.
But many people still believe in the power of prayer – in fact,
according to a recent study by the Church of England, four out
of five Britons believe in prayer. Yes, the Church lies about other
things, but let’s trust them on this because I can’t be stuffed clicking
beyond the third Google result. What’s that? How does this apply
to Australia? FINE, according to this other thing I found, 57% of
Australians pray daily. Anyway, I had sex with a girl once and the next
morning I caught her praying, and I was like, ‘What the hell?!’
But enough about my sexual exploits – DIRTY GOATS are to be
blamed for religion and prayer. I don’t blame the dude for not
wanting to wash them – but did everyone have to believe him?
‘Yeah, yeah, the invisible man in the sky. Accept that his son died for
you on a cross by eating a chocolate rabbit and you’ll get laid heaps
once you’re a corpse.’
‘That sounds made up, but it beats washing goats!’
The women, of course, were sceptical, and my theory is supported
by the fact that there is a strong historical correlation between
feminism and atheism. Once women gained the power to call men
out on their rubbish excuses for not washing the goats, religion
started to dim out.
Also, advances in agricultural technology meant goat-washing was
a less common chore. And to this day, religion is more prevalent
in developing countries which lack our advanced goat-washing
techniques. Coincidence? I think not.
But empirical historical analysis aside, let’s look at this issue
from a sentimental point of view. What would be the point of life
if everything we desired was granted to us simply by clasping our
hands and speaking words doomed to fade unheard.
That promotion you earned is more satisfying because you worked
doubly hard for longer hours, your partner’s kisses are sweeter
because you had to prove your love to them, and the strawberry
you bite into is more delectable because you bought it from the
supermarket and had nothing to do with its sowing, pesticide
treatment, gathering, packaging and transport.
Look, you don’t have to change your opinion, but I beg you to at
least consider this: if a man sat down and pondered the existence
of a tree, would that tree begin to sway in the autumn wind? Is the
centre of the earth primarily a molten core of nickel-iron alloy or
is it a humble peanut, and the earth a delicious, chocolate-coated
M&M? The answers lie not with the sages and druids but with the
proletariat. You, Jack, will save the galaxy from the race of alien
parasites knows as the Nescafe Blend 43s. Believe, my son. Believe.
shahed sharify - Shahed Sharify is a local comic.

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@bmamag

ARTIST
PROFILE:
Bonnie
McArthur

What do you do? Paint
portraits in oil and sculpt
miniature lands adorned
with gorgeous little things
like washing lines and
drawbridges.
When, how and why did you
get into it? I can’t say when,
it’s something I’ve always
done and something I will
always do. I can’t understate
what a slow process
teaches you about your own
character, but really, other
than hopefully composing
music for films one day, it’s
just what I do.
Who or what influences you
as an artist? Jan Matejko,
Romanticism, the human face
and a love for the fantastical.
Of what are you proudest
so far? A steadier flow of
commissions.
What are your plans for the
future? As my parents talked
me out of hitchhiking long ago,
my plans for taking to the road
extended to the purchase of
my dream bus, a 1982 Toyota
coaster, that I intend to live
and travel in, painting and
promoting as I go.
What makes you laugh?
The ‘rapier sharp wit’
of Blackadder, my own
clumsy retardation and my
similarities to my father.
What pisses you off?
Excess and DJs.
What about the local scene
would you change? Nothing
much, we’re lucky here.
Upcoming exhibitions?
Planning a solo exhibition
towards the end of the year.
Contact Info: bmcarthur.
com; facebook.com/worksby
bonniemcarthur; bonnie.
mcarthur@hotmail.com.

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CLASSICS IN REVIEW

IN REVIEW

The Time Machine is both a book of its own time and a book for the
ages. Authored by one of the greatest intellectuals of the 19th and
20th centuries, the novel is a short but exhilarating exemplar of
literary cultural criticism which takes as its target some of those
most dear delusions of its own time and ours.

The school holidays have come and gone again, and brought with
them another children’s show at The Street Theatre. This time the
offering was PEA!, a fun twist on the story of The Princess and The
Pea featuring a tenacious bandit princess, written by David Finnigan
and directed by Barb Barnett.

In The Time Machine, we are recounted a fantastic story told by a
scientist gentleman to his disbelieving peers in which the inventor,
referred to in the novel only as the ‘time traveller’, throws himself
forward into the year 802,701; a year in which humanity has divided
itself into two physically distinct groups; that of the Eloi and that of
the Morlock.

Making theatre for very young audiences presents a number of
questions about the form, themes, and presentation of a production.
These questions often lead theatre-makers to create theatre that
is not very challenging in form and content in order to play to the
expectations of an audience going to see a children’s show. The
best children’s theatre, however, doesn’t make you feel like you’re
watching a show for children. After all, good theatre is good theatre.
Although the story of PEA! falls pretty squarely in the safe realm
of traditional fairytales (albeit with a refreshingly active female
protagonist), the form in which PEA! is presented is complex,
exciting, and acknowledges children as a sophisticated audience
that can understand and enjoy new, non-traditional forms of theatre.

The Time Machine
H.G. Wells
[First published: 1895]

The world of the Eloi is a world in which ‘the dream of human
intellect’ had ‘committed suicide’ in the assurance of an eternal
afterlife of physical comfort and ease, a world which held ‘security
and permanency as its watchword’. Dressed in beautiful garments,
provided with plentiful sources of fruit, the Eloi dance and prance
about their small world as children; ignorant, narcissistic, naïve. The
only fear they feel is toward those of the ‘ape-like’ Morlocks, those
of an underworld who have evolved so sharply away from their
‘Upperworld’ counterparts, who prey upon the Eloi for sustenance.
In a later-edition preface to the book, Wells chides himself for such
a ‘crude’ depiction of social order; but sometimes, perhaps, reality
is indeed this crude, as the world was to discover in astonishment
throughout the 14 years following 1931 in Europe. In any case, the
depiction of the Eloi and Morlock is complicated and softened
somewhat by the time traveller’s affection for the pretty Weena, a
young woman whom the time traveller rescues from drowning in a
river, drowning right next to her frolicking companions who barely
notice her imminent death.
It would, of course, be all too easy for the realists among us to
cast aside Wells’ Time Machine for reason of its apparent ‘farfetchedness’, but to do so would be to miss the point of his writing.
We should remember that every word which the science fiction
writer writes is metaphor, and Wells’ metaphor in The Time Machine
is clear; he was worried with what he saw as a societal trend toward
a state-of-being in which we find ourselves so divorced from the
worlds which preceded our own that our history books crumple at
the touch of a curious hand,
so separated from each
other to the point where
we carry on picnicking at
the sight of a another in
need, and so segregated
in our social hierarchies
that each rank becomes
unrecognisable to
the other.

PEA!
The Street Theatre
Sat-Sat April 20-27

Cathy Petöcz as Gwendolyn the bandit princess had great vocal
control and a clear physicality, although at times this went just a bit
too far into the realm of pantomime compared to the style of the
rest of the production. This contrasted with Josh Wiseman’s Prince
Gregor, which often did not match the energy and clarity of Petöcz.
Although both Petöcz and Wiseman created otherwise strong
performances, this difference in physicality was detrimental to the
connection between the two characters, and made their relationship
feel forced. However, this connection was absolutely present
when working with the numerous puppets, as both performers
co-operated to create vivid characterisations of the puppets that
passed between them.
The puppets themselves, created by Gillian Schwab, were engaging
and required very little to bring them to life. Particularly effective
were the Dragon’s eye, which for one moment heightened the stakes
of danger and corresponding fear; and the Mother, whose pointed
eye movements gave it an instantly recognisable character.
The set was interesting in a number of respects. The audience
was immersed in the ‘Museum of Legendary Vegetables’, whilst a
diorama-like flat set stood in front of them. This diorama setting
facilitated the use of two- and three-dimensional props and
puppets to separate the two worlds of the play. Whilst this was a
strong design concept, it was weakened in execution by having the
audience sit so close to the performance that it sometimes made
it difficult to distinguish
between what was meant
to be two-dimensional or
three-dimensional.

So, we might ask ourselves
this; since H.G. Wells wrote
his Time Machine some 118
years ago, has our world
become more, or less,
similar to the world of
the Eloi? The question is
a simple, reasonable and
deeply unsettling one.

Serious Theatre created
a production that
had a clear aesthetic,
tight script, and solid
performances. However,
although the immersive
form of PEA! was
innovative and enjoyable,
the overall performance
left me feeling like a
grown-up at a kids show.

timothy c. ginty

Chris Brain

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@bmamag

Woven Words
Nishi Gallery, NewActon
Saturday April 27

‘It gave me goosepimples,’ says author Sara Dowse. We’d just
witnessed the soulful rendition of Kurt Weill’s Speak Low by the
exceptional Chanel Cole, accompanied by pianist Adam Cook. I
think every audience member at Woven Words would agree that one
would struggle to find a more fitting reaction to this latest artistic
endeavour at NewActon.
The evening was a celebration of The Invisible Thread, an anthology
featuring the work of 75 writers linked to Canberra over the past 100
years. Three acclaimed writers recited their works, with readings
bookended by specially selected music performed by an ensemble
of Canberra-based musicians. This unique blend of artists came
together for absolute indulgence within the intimate Nishi Gallery
amidst a literal web woven by visual artist Victoria Lees.
Following Chanel and Adam’s initial performance, Sara Dowse
regaled the audience with her story One Touch of Venus, describing
how she came to know Ava Gardner and her disappointment upon
seeing a movie star in the nude. Afterwards, Adam and Chanel
united again with Old Devil Moon, sung as it was by Sinatra to
Gardner, about a bewitching woman, just as Dowse was bewitched
by Gardner and all that she was.
Alex Miller and an extract from his novel The Sitters was then
preceded by the dark and heavy tones of Larry Sitsky’s City of
Carcosa, performed by Adam Cook. This was followed by an achingly
beautiful rendition of Samuel Barber’s Adagio by the Canberra

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The CSO String Quartet then delighted with Percy Grainger’s
light and jaunty Molly on the Shore, before former nuclear physics
technician and agricultural labourer Alan Gould recited various
poetic works, including Roof Tilers and the extraordinary Flamenco
Rehearsal. This preceded a performance of bewildering technical
brilliance by flamenco guitarist Campbell Diamond.
But why did this melding of words and music work so well? Why
was the transition between art forms so seamless and effective?
Perhaps it was because each author recited their words with
incomparable heart and emotion, because they were their own.
They understood the intricate nuances behind them, and the music
chosen was so fitting. Combined with the extraordinary skill and
talent of the selected musicians, the overall impact was almost
overwhelming. I guarantee more tears were shed than just those
of MC Genevieve
Jacobs’ following
Adagio. Anyone
would be forgiven
for having felt such
emotion, perhaps
even a tinge of
insignificance, in
the presence of
such masters of art.
ashley
goldberg

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Image credit: Katherine Griffiths

IN REVIEW

Symphony Orchestra String Quartet. Both pieces intertwined with
Alex’s story of the reverie of a portrait artist. Alex says he dreamt up
the novel during the longest sleep he ever had, sick with pneumonia
during the entire flight from the USA to Australia. ‘The book really
has to write you,’ he confided, ‘or it’s not worth doing.’

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bit PARTS
COLOUR REVOLUTION
WHAT: Visual Art Exhibition
WHEN: Thu May 2-Sat Jun 29
WHERE: Soju Girl
Canberra artist Angus Comyns transforms the walls of Soju Girl with
his latest exhibition Colour Revolution, a showcase of radical colour,
photographic imagery and text. Diners and drinkers who dare to flirt
with the works will discover the fusion of imagery, symbols, numerals
and quotes that are attracting growing interest in his work. Comyns
uses an array of printing, drawing and painting techniques to reinvent
the elements of street, pop, graffiti and tattoo art, also taking influence
from Australiana and propaganda styles. As seen at NewActon’s Art,
Not Apart. Free.
THE THINKING HEART
WHAT: Local Artist’s Exhibition
WHEN: Fri-Tue May 3-28
WHERE: Chapman Gallery
Local artist Leeanne Crisp considers the effect of creative lives
through the play of the senses, emotions and mind. Through paintings
of people and still life meditations, she explores the ways creative
lives touch us and connect us with larger forces. Crisp has won the ANU
Drawing Prize, the John Copes Watercolour Prize, and the Tuggeranong
Art Prize. She was a finalist in the Dobell Drawing Prize, the Archibald
Prize, and the Portia Geach Prize. She’s had seven solo shows and over
60 group shows including at the Portrait Gallery. You can visit The
Thinking Heart in Manuka, 12-6pm Wed-Fri (11am-6pm Sat/Sun).
AFTERIMAGE
WHAT: Photography Exhibition
WHEN: Wed-Sun May 8-19
WHERE: ANCA Gallery
Polish-born artist Renata Buziak exhibits a photographic series based
on her memories of places and events experienced in her childhood,
depicting, as she explained, ‘memories that put a smile on my face and
memories that haunt me in my dreams.’ For the past several years,
Buziak has been developing a process called ‘biochrome’. This process
is based on decomposition in combination with photographic materials.
The images exhibited in Afterimage reflect natural environmental
processes and their significance in the life cycle. Afterimage opens
Wednesday May 8, 6pm. Artist talk 2pm, Saturday May 18. Free.
OBJECTS UNDEFINED
WHAT: Textile Exhibition
WHEN: Fri-Sun May 10-26
WHERE: Belconnen Arts Centre

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Jemima Parker’s Objects Undefined blurs the boundaries between body
adornment, garment and object. Her three-dimensional fabric forms
can be placed on the body or installed within a gallery setting as objects
in their own right. While presenting strong lines and forms, Parker’s
work is also highly delicate. Parker plays with the contrast between
soft material and the ability of the material to hold its shape, creating
a compelling visual paradox. By pushing the materials beyond their
expected capabilities, the artist captures the imagination of the viewer
or wearer of the garments. Objects Undefined will be officially opened
Friday May 10, 5:30pm. Free.

@bmamag

UNINHIBITED
A girl had drawn hammers and sickles on the walls of her half of the
room while her sister, with whom she didn’t speak, drew swastikas
on the walls of the other half; the girls had marked a line down the
middle which neither girl nor her ideology crossed. Jessica ‘Decca’
Mitford recounted this story in her superb memoir Hons and Rebels.
Mitford’s memoir (for the sake of this column, memoirs will include
autobiographies) is one of the best, up there with more celebrated
works such as Orwell’s Down and Out in Paris and London and Dave
Eggers’ A Heartbreaking Work of Staggering Genius. Despite greats
such as these, in my experience, memoirs tend to be treated as
something to read on the side; readers prefer fiction, whether it is
literature or airport novels.
It seems I have odd reading habits in that 90% of what I read is
memoir. When my partner looks at something I’ve written and says,
‘It’s okay, but it’s all about you,’ I say, ‘It’s what I read (regardless of
whether the author is notable for other reasons) so why wouldn’t it
be what I write?’
A lot of interesting shit really happens. For instance, poet Nick
Flynn’s Another Bullshit Night in Suck City tells the moving, yet
remarkably unsentimental, story of the author’s relationship with
his drunkard father. Flynn’s dad is an alcoholic of the seemingly
untreatable kind, a deluded man who thinks of himself as a literary
genius never given his due; the world has conspired to keep him

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from greatness and he’ll tell you all about it while sitting in a bathtub
drinking straight from a bottle of vodka. Flynn, who worked with the
homeless, has a drinking history of his own and his memoir reflects
his fear of one day becoming his father.
Then there’s Saïd Sayrafiezadeh’s When Skateboards Will Be Free,
which is the story of a half-Iranian, half-Jewish kid brought up by
socialists in the United States. Yes, you read that correctly.
Errol Flynn’s My Wicked Wicked Ways, though not entirely truthful,
is a fine exhibition of how charm and a jaunty tale or 20 can make an
audience more forgiving of someone who’s essentially a dick. Most
successful memoirs written by musicians are along the same lines;
Blur’s Alex James is one of the better musician/writers, as shown in
his Bit of a Blur.
Kate Holden and Geraldine Brooks have lived very different lives
(one as a former heroin addict and prostitute, the other as a
renowned journalist and author) but their memoirs In My Skin and
Foreign Correspondence, respectfully, are two of the best Australian
examples of the genre.
I also have a soft spot for the depressing Irish memoir, of which
there are no shortage of works, such as those of Frank McCourt,
Brendan Behan and Christy Brown; the latter two had a mighty
influence on the songs of The Pogues.
And I could read pathographies (‘focuses on a person’s illnesses,
misfortunes or failures’) all day (Augusten Burroughs’ Running With
Scissors is probably the most famous of this lot).
I’m not particularly fussed that I’m yet to meet anyone else with the
same fascination with memoirs; but if you are part of a memoir book
group, hit me the hell up.
Pete Huet - petehuet@yahoo.com

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the word

on albums

ben lee
ahayuasca: Welcome to
the work
[ONE WORLD MUSIC]

album of the issue

Phoenix
Bankrupt!
[Liberation/Glassnote]

Phoenix has always
possessed an idiosyncratic
take on polished pop. Yacht
rock for cool kids. Theirs is an
identifiable sound. And now
that the French foursome
has crossed over into the big
time, the pressure is on.
Have they produced a winner,
a fresh take on an established
formula, or is it just more of
the same? The answers are
yes, kinda, and sort of.
On the first few spins
Bankrupt! seems incredibly
dense, both sonically and
melodically. The opening
three songs sound like a band
second-guessing their hooks;
unsure of one, they append
another, creating dizzying
mash-ups, mini greatest hits
that add up to less than the
sum of their parts.
However, subsequent spins
reveal a different, richer LP.
Bankrupt! sounds like
a band responding to
the circumstances of
their updated success.
Thematically and sonically
it addresses excess. Singer

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Thomas Mars has one foot in
the world of the A-list, and
is battling to keep the other
foot outside so that he might
chronicle it.
This is the struggle at the
heart of the LP, a kind of
disgust in wanting more when
you have it all. It adds depth
to the polished exterior.
Trying to be Cool, SOS in Bel
Air, Don’t and Drakker Noir
are dark pop winners, infused
with far eastern dabs, light
and dark balanced beautifully.
There is nothing as
immediate as Lisztomania
aside from the single,
Entertainment. Songs such
as Bourgeois and Chloroform
are jarring, but that’s their
genius – like revealing the
sadness of the pretty, rich
kid. That may not appeal to
all. But Mars isn’t interested
in your sympathy. He seems
interested in exploring his
and their position.
How French.
It’s an honest appraisal of
Planet Phoenix circa 2013. A
great record lurks underneath
the gloss. Give it time.
GLEN MARTIN

Ayahuasca: Welcome to
the Work is a conceptual
exploration of Ben Lee’s
spiritual journey through use
of the hallucinogenic plant
Ayahuasca. Lee states of
Ayahuasca: ‘I wanted to make
music as a gift to the medicine,
in love and gratitude.’ The
cloying descriptors in which Lee
binds Ayahuasca could be taken
as ample reason to expect a
drifting, spiritually guided wankathon, and Lee does expend a
lot of effort in his reach toward
cloud-swathed revelation –
but thankfully there’s enough
intrigue within stretches of
atypical instrumentals to
provide welcome respite.
In Welcome to the House of
Mystical Death, Lee begins by
imploring, ‘Let the light in/ Let
the/ Let the light in’ amidst a
shroud of glittering chimes and
a sweet, upward-climbing choral
backing. It goes on like this, and
by the time Lee is encouraging
you through In the Silence to
‘Show me your heart/ Let’s
let each other in’ it’s possible
you’ll have fallen into a stunned,
aural-diabetic shock. Most of
the thought-provoking points
occur during instrumentals
when Lee falls silent – such
as when The Shadow of the
Mind expands from sparse,
empty-hall piano into an
imposing, captivating waterfall
of white noise, Lee showing an
appealing blend of exploration
and restraint. Ultimately,
Ayahuasca is pleasant – and at
times absorbing – but lyrically
regrettable, as Lee attempts
to convey the transcendental
through flaccid, sicklysweet adulation.
david smith

Hungry kids of hungary
you’re a shadow
[EMI]
High-profile indie-poppers
Hungry Kids of Hungary have
made quite a splash in both the
alternative and mainstream
pop scenes. Having bagged a
couple of awards and worked
hard to expand their fan base
through a hectic national and
international touring schedule,
they have released their second
long-player You’re a Shadow.
Engineered by Wayne Connolly
(Josh Pyke, Dappled Cities,
Paul Dempsey), the material
maintains the same style
as their acclaimed debut
Escapades. And why not, with
a sound that melds the bright,
uncompromising cheerfulness
and warm melodies of the
‘60s with the vibe of indie pop
today. Besides being chockers
with catchy tunes, the band
is blessed with the flexibility
afforded by having not one but
two very capable lead vocalists,
Dean McGrath and Kane Mazlin.
The opener What in the World,
with its punchy drumbeat
contrasted with echoing keys,
serves as an ideal platform for
the high-pitched Mazlin.
The record goes up a notch with
radio friendly Sharpshooter, full
of happy guitar licks, oo-oooohs and doo-doo-doos. The
slow track Colours is a bit of a
dirge, but it’s the odd man out.
Other highlights are Memo, with
its driving rhythm and classy
keyboard work, Do or Die and
the incurable hip shaker Litter
and Sand. The bonus disk is a
good listen too, especially Hang
Up with some most un-HKOHlike wailing guitar thrown in. The
band has pop-song construction
down to a tee.
rory McCARTNEY

I think a lot of people wouldn’t
get this band the way people
who don’t get art think there
has to be something to ‘get’. Yes,
this is essentially punk music
and there are some intense and
some reflective elements, but
mainly this album comprises
heartfelt chaos; absolute noise
in a succinct package. Fat Guy
Wears Mystic Wolf Shirt slap a
whimsical name on some very
serious sounds. The lyrics are
almost as intense as the songs,
something you’ll have to sit
down to take in. These guys are
talented; there should be more
DIY bands like them.

Born Radu Dumitru Bodiu,
Romanian producer Petre
Inspirescu has already attracted
considerable attention in
techno/house circles, despite
being a relative newcomer. It’s
a situation that, to a certain
extent, has come about through
some high-profile associations;
after releasing early material
on Luciano’s esteemed Cadenza
label, vocal support from
high-profile tastemakers like
Ricardo Villalobos has seen
Inspirescu poised as a name to
watch. Fabric seem to share the
sentiment, with Inspirescu given
free rein here to build a 15-track
mix collection comprised of his
own unreleased productions.
Unfortunately, while there’s
plenty of elegance on show,
this 70-minute mix lacks the
excitement and surprises
usually associated with Fabric’s
outings. There’s an emphasis on
deeply hypnotic atmospheres
and a sense of intricate
structural elegance, with
ghostly orchestral influences
bleeding through the crisp
minimal tech rhythms on tracks
such as Anima, but very little in
the way of real peaks, making
Fabric 68 far more geared
towards headphones than the
dance floor. While impressive
constructions such as the
understatedly eerie Chosen and
Flurimba reveal a craftsman’s
touch, a sense of sameness
soon begins to set in, with
Inspirescu’s often bloodlesssounding tracks lacking the
ingenuity and visceral edge of
someone like Villalobos. Sadly,
Fabric 68 often feels like lavish,
rhythmic audio wallpaper more
than anything else.

scott johnston

chris downton

I admit, when I heard the
name, I thought, ‘This is going
to be some arty post-punk
band who’ve spent more
time creating nothing than
something.’ And I was kind of
right. But in the nicest sense.
Dys/Closure, the follow up to
2011’s Counter/Transference, is
technical, heartfelt, unforgiving,
brutal and rehearsed. All by
three guys who look like
they should be tradies (if they
aren’t already).
I say ‘arty’ almost with an air of
jealousy, as it kind of seems to
be the product of meticulous
thought and experimentation,
something I personally wouldn’t
be capable of; and ‘creating
nothing instead of something’
because it’s the best type of
brief, inexplicable noise. The
type of loud gritty incessant
grinding punk you can’t make
sense of, but you love and
respect because of the effort
put in to create and express it.

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the cat empire
steal the light
[two shoes
records/inertia]
Watching The Cat Empire
live provides an insight into
their creative process. There
they are, all six of them,
usually accompanied by
some amalgamation of their
unpronounceable support
act, all singing, banging or
blowing their hearts out. They
enjoy themselves. And it’s
often infectious. But at some
point in any band’s career,
if that band’s sound hasn’t
changed, it becomes poignant
to ask whether they’re bored
of making music together.
Often bands will pre-empt this
question by announcing they
can go no further creatively and
breaking up. In the case of The
Cat Empire, their live show says
it all: they’re far from bored.
And that’s a problem, because
they’re boring. Steal the Light
is The Cat Empire’s fifth album,
and sees them stretching no
new creative limbs whatsoever.
Which is fine, were it not for the
fact that the old tricks they’re
pulling don’t give Steal the Light
the flair and infectiousness
of albums (long) past. ‘[Steal
the Light] should make people
smile, make people dance.
That’s all we wanted,’ said
the band’s modest genius,
Harry Angus, but even the
songs penned by Angus (who
can usually be relied upon to
provide a moment of surprise)
are tired and trite. One too
many boisterous horn refrains,
dying-to-be-earnest tonal
ballads, and lyrics like ‘My heart
is like a beating drum’ have worn
The Cat Empire’s hooks to nubs.
Back to Jackson Jackson with
you, Angus.
ashley thomson

Owl Eyes
Steal The Light
[illusive]
Brooke Addamo (aka Owl
Eyes) has left her history as an
Australian Idol contestant far
behind. After issuing a swag
of EPs, she’s ready to make a
bid for the title of Australia’s
alternative pop princess with
her debut album Nightswim.
The disk takes its time getting
going. The instrumental intro
is a waste of ones and zeros
and the title track is a bit of a
plodder. However, Owl Eyes
lets her talents shine from
Hurricane onwards, coming to
life with feeling and expression.
The album is happily devoid
of the excessive auto-tuning
often associated with pop
songs. She also avoids the
overblown vocal gymnastics
favoured by young divas (the
equivalent of doing burnouts;
loud and attention-getting,
but quite pointless). Instead,
she serves up dreamy pop to
either a slow dance rhythm,
or a slightly faster electronic
beat (at a canter rather than
a full gallop). The voice is LED
bright, delivered in a fresh, crisp
style that just flows so well. A
couple of songs employ voice
shape-shifting effects, and
she certainly sounds silky and
sultry in Salt Water. However,
Owl Eyes is at her best with
less voice manipulation. Disk
highlights include Diamonds in
Her Eyes, Closure and Golden
Lies. The lyrics aren’t deep,
but come laden with passion
and ‘come hither’ messages.
These, together with the catchy
melodies and that magic voice,
make her debut LP a pleasure to
listen to, over and over again.
rory McCARTNEY

41

the
word

on films

WITH
MELISSA WELLHAM

In my review of Chasing Ice, I
point out that the film is ‘yet
another climate change callto-arms’. Which might make
it sound like I’m over ‘climate
change call-to-arms’ films.
I’m not. I just can’t believe
that we’re still having these
conversations, and that films
like this are necessary. (But
seriously, I might get bored of
watching these pretty soon, so
if we could all just admit that
something needs to be done
about emissions, that would
be great. Thanks, world!)

quote
of the issue
‘Ladies, children, sheep…
Some people call me
a terrorist. I consider
myself a teacher. Lesson
number one: Heroes –
there is no such thing.’
The Mandarin (Ben
Kingsley), Iron Man 3

iron man 3

oblivion

chasing ice

I’ll tell you what you want to
know straight away: Iron Man 3
is better than Iron Man 2, but not
as good as Iron Man. It’s also not
as good as The Avengers (as if it
could be, without Joss Whedon
involved), but it is a worthy
follow-up.

Latest sci-fi offering Oblivion
is set in a future where Earth is
no longer inhabitable – now a
barren place, home to the ruins
of civilisation and some pesky
alien Scavs.

Chasing Ice might sound like yet
another Trainspotting-esque,
Requiem for a Dream-inspired
drug flick. But, in fact, it’s yet
another climate change callto-arms. National Geographic
photographer James Balog was
once a climate change skeptic
– but through his Extreme
Ice Survey (sounds hardcore,
right?) he discovers evidence
that shows how drastically
our planet is changing. In the
film, Balog uses time-lapse
cameras, stationed in Alaska,
Greenland and Iceland to
capture the world’s changing
– and diminishing – glaciers.
The audience is able to watch
our icecaps melt away at
astonishing speeds.

In the third film in the franchise,
Tony Stark/Iron Man comes
face-to-face with the face of
terrorism – The Mandarin (Ben
Kingsley). He can strike anytime,
anywhere – with the explosive
power of a thousand fiery suns.
Robert Downey Jr. is just as
much an arrogant, charismatic
asshole as ever – oh, and so is
Tony Stark. Except now, after
his near-death experience in The
Avengers (er, belated spoiler
alert), Tony Stark has issues. He
is emotionally damaged. There is
character development! It’s rad.
As an added bonus, Paltrow
has been given a lot more to
work with in this installment,
as Pepper’s character gets to
display some heroism of her
own, instead of merely being the
damsel in distress.
In this film, Stark spends a lot
more time out of his iron suit,
displaying smarts instead of
robotically aided strength –
which is a welcome departure
from Iron Man 2. In the interest
of full disclosure, I will admit
there are a few plot holes, and
one or two moments that are
cheesier than double-baked
Gruyère soufflé.
But what would a comic
book movie be without a
little cheese?
melissa wellman

Tom Cruise is Jack, a tech
repairer who flies to the surface
each day to maintain the
remaining drones. He and wife
Victoria (who is also his work
partner) live in a pristine house
in the clouds, and certainly do
make an ‘effective team’. The
pair live a lonely life, disrupted
only by Jack’s persistent, sepiatoned ‘memories’ and Victoria’s
love of following protocol –
that is, until Jack witnesses a
strange spacecraft falling from
the sky… Other sci-fi staples,
such as memory wipes and giant
decrepit abandoned libraries
also make an appearance.
The film looks good, Cruise is
bearable, and I actually enjoyed
the big plot reveals. On the
downside, some of the blinkand-you’ll-miss-it exposition
ends up being crucial to figuring
out what’s going on, the film is
a bit inept at triggering genuine
emotional responses, and the
conclusion is a bit naff (to say
the least!). Cruise really only has
a couple of facial expressions,
coupled with the sexual
chemistry of a dessert spoon.
However, none of these
criticisms really make the
film that bad, although there’s
also nothing to rave about.
Happily, the twists and action
should be enough to keep
most cinemagoers happy.
It’s no Moon – but it’s hardly
Battlefield Earth, either.
megan mckeough

The film is not just a cinematic
series of glaciers, however.
Balog and his team of young
adventurers endure brutal
extremes to take their photos
– and the film is as much about
their struggles, and one man’s
almost obsessive dedication to
proving a point to the world, as
it is about global warming.
Because of this alternative
focus, the film is less
didactic than it is a story of
determination. Director Jeff
Orlowski, who features in the
film himself, should be given
credit for this interpretation.
If seeing is believing, then this
film will leave you in no doubt
that climate change is very real,
and developing very quickly.
We are given the opportunity
to watch our world – or at least,
parts of our world – disappear
before our very eyes.
It is a beautiful film – but
terrifying in equal measure.
melissa wellman

42

@bmamag

the
word
on dvds

The Thick of it series 4
[roadshow]
When it premiered, scathing
British political satire The
Thick of It was a breath of fresh
air. Dusting off the reliable
Yes, Minister model of inept
politicians and self-serving
bureaucracy, Armando Iannucci
updated it for the Tony Blair/
Alistair Campbell/WMD years.
Malcolm Tucker (Peter Capaldi)
was the sewer-mouthed
ringmaster of idiots and
director of communications
to an unnamed government
(presumed to be UK Labour) for
whom YouTube ‘best ofs’ were
invented, shepherding various
Ministers through a neverending cascade of disasters and
belittling anyone dumb enough
to stand still in his line of sight.
His arrogance and mastery of
spin was a reflection of the
2000s – a decade in which
truthiness (twisting reality to
suit opinion, turning it into ‘fact’)
was voted a word of the year.
But Tucker is back, in a new
decade, with the same sneer
and the same shit to clean up,
overseen with the usual crazyarmed theatrics. With his party
voted out of office, Tucker and
his bosses are in opposition.
Nicola Murray (Rebecca Front)
the bumbling ex-Minister for
Social Affairs and Community
is now opposition leader by
default. Predictably, she cocks
it up. On her way down, Murray
manages an accidental coup
d’état of sorts by calling a
Levenson-style public inquiry
about the relationship between
the press and government.
Despite his venom and rancour,
Malcolm Tucker was the beating
heart of the show and it’s only
fitting that his run should come
to an end through such a forum.
It’s also fitting it started to
resemble some sort of fact/
fiction banana sundae – airing in
the UK as Levenson was still a
going concern.
Episode-for-episode, The Thick
of It is one of the best TV series
of the last decade. Iannucci’s
new political satire – HBO’s
Veep – has massive shoes to fill.
justin hook

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southland - the
complete first and
second seasons
[warner home video]
It’s a tough ask to stand out in
the world of police procedural
dramas. They’ve been around
since the inception of television
(Dragnet debuted in 1951) and
each year sees thousands of
hours of serialised cop drama
churned out like sausage meat.
But for every deconstruction
or splintering of the genre (The
Wire, The Shield, The Killing)
the police procedural follows
a relatively unchanging script:
crime occurs, police arrive,
suspects grilled, family grieve,
resolution. The exact colours,
phrasings and dialect evolve
– the current craze for Nordic
crime is heavy on gazing into
endless horizons, for example
– but at its core we know
exactly what we getting. And
so it is with Southland, a police
procedural set in Los Angeles.
Splitting its time between the
beat cops John Cooper (Michael
Cudlitz), the terse wisdomdispensing veteran, and Ben
Sherman (Benjamin McKenzie),
the preppy rookie and viewer
surrogate, and various flashier
detectives, Southland hits all
the marks you’d expect; lots of
door-knocking, sitting in patrol
cars, drawing weapons and
narco gang crime.
Created by NYPD Blue veteran
Ann Biderman and developed by
ER and West Wing show-runner
John Wells, Southland is difficult
show to pin down. It angles for
rough and edgy no-glamour
and pays little attention to
overarching narrative. Scenes
start halfway through, plots
appear and disappear with an
irregularity that will frustrate
those accustomed to longhaul drama. Dialogue is often
ripped – jarringly – straight
out of scripts way below its
pedigree. But it gets under your
skin. By the end of the second
series the wheels are in motion
for something much better and
bigger and the universal praise
later seasons have received
begins to bear fruit. Southland
is head and shoulders above its
current competitors.
justin hook

pitch perfect
[Universal/SonyPictures
Home Entertainment]
Rebel Wilson has come a long
way since being the biggest
bogan on the Ten Network,
itself a major feat. As part of
the ensemble skit show The
Wedge, Wilson joined a long list
of Australian comedians serving
their time on a comedy show
devoid of any actual comedy.
There was little to suggest that
half a decade later the proudly
‘plus-size’ Wilson would be one
of hottest talents in Hollywood.
And like her or not, she is. From
hosting the recent MTV Music
Awards and scene-stealing in
Bridesmaids to appearing in the
new Michael Bay film, Wilson
is doing everything right. But
you’d be wrong in thinking Pitch
Perfect is a generic by-thenumbers comedy built around
an emerging talent scurrying
up the totem pole of fame, as
the marketing suggests. And
that reason has a name: Anna
Kendrick, possessor of the
sexiest mandible in all the lands.
Kendrick is Beca Mitchell, a
surly, indie-esque freshman
who is classic square peg/
round hole material. Through a
tortuous passage of events she
ends up in an all-girls a capella
group struggling to make it
through the state singing
championships. The nationals
– as you correctly predicted
midway through the last
sentence – beckons. Despite
being a grunge throwback,
Beca has a good voice, as does
Kendrick. She’s a genuine star.
Even though every road-tested
underdog cue is hit, Pitch
Perfect is far from leaden.
Wilson is a confident performer
but her cast mates rise above
and beyond, especially Adam de
Vine (Workaholics) as leader of
the opposing all-boys a capella
group – the Treblemakers.
Pitch Perfect is close in sprit
to School of Rock but the large
amount of improv on display in
this film (apparently 50% was
unscripted) delivers far more
than Jack Black wailing and
channelling John Belushi.
justin hook

43

the
word

The Gum Ball Festival
Belford, Hunter Valley
Thu-Sat April 25-27

on gigs

‘Music the way nature intended’ is the slogan of The Gum Ball
festival, and that is exactly what was delivered. Situated on a
generous piece of bush land, Dashville is the home of Gum Ball, a
three-day camping music festival that has seen some of Australia’s
best up-and-coming acts. This year was no exception to the rule.
With 50-odd tinnies of Toohey’s New in my stomach, laughter in my
belly and love in my heart, The Gum Ball festival was exactly what a
festival should be – a dickload of fun and nothing to care about.
After a late arrival on Thursday night, with just enough time to set up
camp and catch the end of seven-piece string punk/country outfit
Little Bastard’s raucous set, we planted our road-weary arses on the
gentle slope in front of the two main stages. The crowd gathered
to see Australian folk legends Hugh McDonald and John Schumann
deliver material from Redgum and The Vagabond Crew. With barely
a dry eye in the house, the poignant and melancholy rendition of I
Was Only Nineteen capped the ANZAC Day evening off perfectly.
Three of the biggest bands capped off Friday: Turin Brakes, The
Beards and Saskwatch. Hailing from the UK, Turin Brakes’ frontman
proudly announced to the crowd that if only he could recreate what
was going on at Gum Ball at home then life would be perfect. The
crowd got tight as The Beards hit the stage. Women and children
sported fake beards, while men proudly exhibited theirs. With an
hour-long rocking homage to the beard, I suddenly got philosophical.
I’d heard the word beard so many times it had lost all meaning. Like
when you say your name too many times, it was now this strange
and bizarre concept that would keep me awake at night. Hailing
from Lyttleton Harbour, New Zealand three-piece band (usually a
six-piece), The Eastern delivered a solid hour of songs harking to
days on the road, times of poverty and the humorous struggle of
being alive. The Eastern were without a doubt the highlight of the
day. R&B nine-piece Saskwatch hit the stage in a horn-driven funky
beats spectacle. Sexy yet serious frontwoman Nkechi Anele had the
crowd mesmerised as she wailed into the nights, singing with soul
and conviction while her hypnotic jive took hold of the crowd.
Fuelled by the ever-persistent supply of Toohey’s New, day three
began with a headache. Mid-morning, Samoan Sydney boys V-Tribe
had the crowd bopping along to funky reggae tunes. Featuring
a guest appearance from one of their six-year-old nephews and
a traditional Samoan dance, the boys set the chilled vibe for the
morning. Local band Dashville Progress Society hit the stage,
charged up amidst much home crowd fanfare, their set was
concluded with a marriage proposal. The collective project of Tim
Rogers, Catherine Britt and Bill Chambers, The Hillbilly Killers
welcomed the darkness singing murder ballads that resonated
through the bush. As screaming psychedelic Wollongong boys
Tumbleweed hit the stage, the crowd packed in tight. A change of
pace was in store as live drum and bass act Bird, including the evertalented Tabla player Bobby Singh, took the stage to deliver the
finest percussion act in the country.

PHOTOS BY DALE WOWK

44

As Gum Ballers headed to the silent disco, presumably many
following director Matt Johnston’s closing advice to ‘shove a couple
of disco biccies up your date’, I was overcome by a moment of
elation. Within three days at The Gum Ball festival I had made many
friends, shared many laughs and danced into the night. It struck me
that Gum Ball festival was one of the few festivals which remained
untouched from the commercialized bullshit that has overrun the
music. With a relaxed and open atmosphere, the festival stands true
as one of the last bastions of the real festival scene, and, hopefully,
remains an uncorrupted good time for all.
BAZ RUDDICK

@bmamag

Eugene ‘Hideaway’ Bridges
by Dale Wowk
The Gum Ball
Festival 2013

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45

the
word

on gigs

Groovin’ the Moo Festival
University of Canberra
Sunday April 28
I’m not a festival kid. I don’t know the words to most of triple j’s
major airplays; shutter shades accentuate my microencephalic head
shape; and being hoisted on a dude’s shoulders to dance makes
me uncomfortable. My experience at Groovin’ the Moo, however,
proved that by unashamedly embracing all of the above (except the
shutter shades, which look crap on everyone, always) even the most
sceptical amongst us can have a ridonkulously good time.
Entering the meadows, we beelined to Elisha Bones. Having
witnessed frontman Michael’s unfailing ability to transform
humble local performance spaces into ephemeral stadiums
with his commanding onstage presence, I’d always wondered if
this effect would persist within a festival setting. Bones and his
bandmates seemed to use its power and grandeur to fuel their
most impressive performance yet. I can’t say whether it was simply
because I was turned off by the overly-excitable tween crowd that
had accumulated by the time Last Dinosaurs appeared, but the
band didn’t push my buttons. My friend summed it up best: ‘I’m sure
they’re really good at whatever it is they do.’
We headed to the Moolin Rouge stage, curious to see how DZ
Deathrays’ elusive description of ‘thrash pop’ materialised in their
set. Unfortunately, all we found there was a small crowd of metalcovered teenagers dancing maniacally to filler music. Hightailing
it back to the Channel V stage, we just caught the end of Matt and
Kim’s animated performance, leaving me with a massive girl-crush
on the stage-romping drumming queen, Kim Schifino.
Seth Sentry’s set was one I’d most keenly anticipated, and my high
expectations were surmounted. Beginning with the upbeat Float
Away, the sea of smiling faces sang along to every song wordperfect, spurred on by the notoriously mischievous Seth who thrilled
the crowd with his onstage antics, including spraying fans with a
super-soaker and whipping out a ‘hoverboard’ during Dear Science.
Thoroughly enjoying Alpine and people-watching from the hilltop
pen we didn’t venture back down to the stage until frantic drums
and hysterical screaming heralded Regurgitator’s arrival. Nostalgia
aside, Regurgitator delivered a tight, impressively energetic set; a
swift ‘Fuck you’ to all who’ve doubted the band’s durability.
As the last glimmer of sun faded below the hills, night brought with
it an almost tangible exhilaration that seemed to concentrate itself
amidst the crowd that had gathered in anticipation of Tame Impala.
Greeted with ear-shattering applause, they played a flawless set
to an impenetrable mass of fans, the sheer number and force of
which eventually became too claustrophobic for my group, who
budded off from the crowd to cartwheel on the lush lawns. With
grass in our hair and grins on our faces, we followed the sound of
Alison Wonderland’s booming trap to secure a viable position before
Flume’s set. Impossible. We arrived just as a rhythmic, hypnotic
chant had broken out amongst the densely packed crowd; not the
grateful cheer you’d expect, but a tactless, greedy call for the young
Aussie producer who was not due to appear for at least another ten
minutes. Holding her own despite the premature and unwarranted
outcry, Alison was soon replaced by Flume.

PHOTOS BY MARTIN OLLMAN

I like Flume. His set was average at best and nowhere near as mindblowing as most local EDM sets I’ve seen. And yet, the audience
went spastic. Shoulder-riding for a better view became futile as a
whole second level of writhing bodies soon formed atop others.
My friends and I opted to keep the memories shiny and call it. It was
unanimously agreed that, while the whole festival experience was
vastly more enjoyable once we lost ourselves amongst it, the Kanye
shades would be snapped, recycled and never spoken of again.

Guacamelee!
Platform: PS3, Vita Developer: Drinkbox Studios
Length: 4-6 hrs Verdict: Worth borrowing
In the wake of games like Rayman
Origins, Limbo, Braid and Deadlight,
you can’t make a successful platformer
unless it’s anything less than stunning.
In this regard, Guacamelee! does a
fantastic job. Its Mexican setting is
vibrantly realised. The scenery is
packed full of detail, including many
an amusing homage. This comedic
tone is present throughout the game,
making for a playful experience.
Unfortunately, in the absence of voice
acting, the dialogue only produces the occasional comedy zinger.
With regards to the animation, the game moves with an amazing
fluidity, making it feel like you glide through the world. Aiding this is
the easy ability to throw Juan, the main character, around the place.
Despite having a rather comprehensive control set, by the end of the
game you retain a sense of control. God knows the game certainly
will do its best to test this, with several of the platforming moments
requiring some impressive finger gymnastics. However, care of wellplaced checkpoints, these generally don’t become too frustrating.
While the platforming aspects are enjoyable, it’s the wrestlingthemed combat that really makes the game enjoyable. Taking on
the role of a Mexican Luchador, you’ll find yourself pulling off large
combos, grappling enemies mid-air and performing WWE style
piledrivers. Larger groups are dealt with by hurling enemies into
each other enemy, before uppercutting the remaining gawkers.
Unfortunately, the combat tends takes a backseat for the most part.
While the platforming challenges see you rapidly popping between
the world of the living and the dead, bounding through portals and
dashing up and down walls, the combat remains pretty pedestrian.
It’s only towards the end of the game that the combat offers a
proper challenge, with it culminating in a boss fight worthy of a God
of War game.
Having popped off this final foe, one thing that can be said is that the
game is short. It probably takes about four to six hours to complete,
which isn’t necessarily a bad thing. Better short and sweet than
long and overdone, I say. Those wanting to play a little longer can
look to complete the side quests (not that they will take that long),
or try to find the secret gems. Bagging all of them will unlock you
the alternate ending. Unfortunately, as with the normal ending, the
payoff is pretty light. Having established such colourful characters,
a bit more storytelling wouldn’t have gone astray. That said, at least
it actually has a storyline, unlike so many other indie titles.
Overall, while Guacamelee! is hard to fault, the game is almost too
pleasant for its own good. There’s nothing that really stands out
here and demands your attention. However, it’s still a fun game to
play, particularly when playing a mate.
torben Sko

48

Time to put on your best faux fur, grab the tiara and open a bottle
of bubbly as the annual ritzy glitzy Eurotrash-tastic spectacle
brightens up your lounge room. And this year you really can pull
the fondue kit out of the cupboard as the yodelling caravan of
Eurovision (SBS1, Fri-Sun May 17-19, 7:30pm) winds its way to the
Sweden’s Malmo – the Mecca for fans of Eurovision’s most famous
victors, ABBA. It starts with Julia Zemiro’s travelogue throughout
Eurovision country– The Heart of Eurovision (SBS1, Fri May 17,
7:30pm) and then we get down to business. This year’s highlights
include the return of croaky voiced ‘80s Brit songstress Bonnie
Tyler, bookie’s favourite Emmelie de Forest from neighbouring
Denmark and the 95-year-old Emil Ramsauer of Swiss band Takasa.
But if you’re looking for this year’s Lordi – which Chez Blackbox
definitely is – you can’t go past Greek Balkan ska band Koza Mostra.
Pick your favourites from sbs.com.au/eurovision, organise a sweep
and get your glasses ready to hear the sweet sound of ‘zero points’.
New shows on the box include YouTube sensations The Midnight
Beast (SBS2, Mon May 13, 9:30pm), Trashmag panel show Dirty
Laundry Live (ABC2, Thu May 16, 9:30pm), Some Girls (Comedy,
Wed May 8, 9pm), described by some as a girl’s version of
Inbetweeners, finally some new eps of The Big Bang Theory (WIN,
Wed May 1, 7:30pm) and season six of Dexter (11, Mon, 9:30pm).
Compass: Holy Switch (ABC1, Sun May 12, 7:30pm), which follows
six religious young Australians from different faiths – Muslim,
Jewish, Catholic, Anglican, Buddhist and Hindu – as they switch lives,
Stephen Fry: Gadget Man (ABC1, Thu May 9, 9:25pm), The Pitch
(SBS2, Wed May 8, 9:35pm), an obdoco series about the advertising
industry, The Witch Doctor Will See You Now (SBS 2, Tue May 21,
9:40pm), which investigates some extreme medical practices, and
there’s a distinct royal flavour with obdoco Our Queen (ABC1, Thu
May 9, 8:30pm), which gets up close and personal with the monarch,
her family and staff throughout her jubilee year, and The Queen’s
Mother-in-law (SBS1, Fri May 10, 8:30pm, which looks at Prince
Philip’s mother, a great granddaughter of Queen Victoria.
The FA Cup Final 2013 (SBS1, Sat May 11, 1am) will be a David and
Goliath battle between Wigan Athletic and Manchester City. The
team behind At Home with Julia are bringing together political
impersonations, satirical characters to hash out the week’s political
and cultural events in front of a live studio audience, with a bit of
musical comedy thrown in. Wednesday Night Fever (ABC1, TBC) is
due to air mid-2013. Keep an eye out for Rectify, just launched on the
Sundance channel in the US. The drama focuses on Daniel Holden
(played by Aden Young) who has been freed after almost 20 years on
death row. Critics Blackbox usually agrees with are raving. The US
version of Celebrity Splash (Prime, Tue, 7:30pm) just featured Tony
Hawke doing a dive with a skateboard. We get Brynne Edelsten in a
sequined (almost) bikini. Where’s the justice?
There is a swathe of vintage ‘90s flicks this fortnight to complement
the return of black velvet, lace and doc martens in our shopping
malls including Singles (Go, Sat May 11, 10:30pm), Seven (GEM
Tue, May 7, 10pm), and ‘90s by virtue of its Tarrantino link – Kill Bill
Vol. 1 (Go, Thu May 9, 9:30pm). There’s also a smorgasbord of older
classics including Carrie (Go, Fri May 17, 9:30pm), Wrath of God
(GEM, Fri May 17, 11:05pm), April in Paris (GEM, Sat May 18, 1:15pm),
and 55 Days at Peking (GEM, Sat May 15, 3:20pm).
TRACY HEFFERNAN
tracyherrernan@bigpond.com
@ChezBlackbox

@bmamag

ENTERTAINMENT GUIDE Wed May 8 - Fri May 10

Listings are a free community service. Email editorial@bmamag.com to have your events appear each issue.
wednesday may 8

…IS DEAD
Where did your band name come from? Our drummer had
a list of names and we picked the one we thought sounded
the coolest.
Group members? Goz (guitar), Cameron (drums), Riley
(vocals), Taylor (bass) and Anthony (other guitar).
Describe your sound: A Mortal Kombat fatality.
Who are your influences, musical or otherwise? Converge,
Mahumodo, Devil Sold His Soul, Will Haven, Omar Rodriguez
Lopez, David Gilmour.
What’s the most memorable experience you’ve had whilst
performing? We’ll have to get back to you on that one...
Of what are you proudest so far? A song we wrote called
Lights and Lakes. It was one of the first songs we all put
together pretty equally and it’s one of our favourites to play.
What are your plans for the future? Gig as much as
possible with cool bands and release something later this
year. We’re planning to get Mehdi from Shels/Mahumodo to
do the mixing/mastering, which we’re stoked about.
What makes you laugh? A bunch of inappropriate stuff.
What pisses you off? When our bread is of a darker hue but
doesn’t actually contain any wholegrain.
What about the local scene would you change? Public
liability insurance has gone crazy. It’s so expensive – too
expensive for small time bands and promoters just wanting
to put on a small free gig somewhere.
What are your upcoming gigs? We’re playing with Purity
and an awesome band from Melbourne called Shut Up
Jackson on Saturday May 18 at the Pot Belly in Belconnen…
Should be a hoot…
Contact info: facebook.com/ourbandisdead; youtube.
com/user/ourbandisdead; soundcloud.com/isdead.